tag:blogger.com,1999:blog-191115582024-03-06T21:44:40.971-08:00Bujutsu Blogger"The journey of a thousand ri proceeds step by step, so think without rushing. Understanding that this is the duty of a warrior, put these practices into action, surpass today what you were yesterday, go beyond those of poor skill tomorrow and exceed those who are skillful later... See to it that you temper yourself with one thousand days of practice, and refine yourself with ten thousand days of training. You should investigate this thoroughly."
~Miyamoto Musashi, The Book of Five Rings~Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.comBlogger74125tag:blogger.com,1999:blog-19111558.post-47996921013446951262013-12-29T20:34:00.001-08:002013-12-29T20:34:14.120-08:00Osae (The Press) and Miyamoto Musashi's The Book of Five Rings<br />
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<span style="letter-spacing: 0.0px;">In a <a href="http://bujutsublogger.blogspot.com/2009/12/closing-distance-and-not-overextending.html" target="_blank">previous post from Dec 2009</a>, I discussed an excerpt from Miyamoto Musashi’s classic work <i>The Book of Five Rings</i> which emphasized the importance of fully closing distance between you and your opponent so you do not execute any techniques before you are in proper range. I then alluded to the related concept of <i>osae</i> (press) that we use in OSKA, and that it would require a post of its own to do it justice. And four years later, here we are.</span></div>
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<span style="letter-spacing: 0.0px;">In the simplest of terms, pressing is a constant press forward into an opponent with the full body and body weight. That means moving the entire body without leaning, hesitance, or any undue actions which would otherwise compromise your posture and position. In OSKA, we use the press as we close distance to get into proper execution range or to engage a new opponent after finishing off the previous one. Technically speaking, closing distance doesn’t require this press, but it greatly enhances control of the situation and promotes a strong frame of mind. For more on what we simply call “the walk-in” to close distance, see <a href="http://bujutsublogger.blogspot.com/2010/12/hawaii-karate-kenkyukai-december-5-2010.html" target="_blank">this post here</a>.</span></div>
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<span style="letter-spacing: 0.0px;">As I will explain below, however, the press is also used after closing distance and/or execution of a technique to further crowd the same opponent.</span></div>
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<span style="letter-spacing: 0.0px;">Borrowing again from Musashi, the concept of pressing is illustrated in his sections entitled “The Body of Lacquer and Glue,” “Comparing Stature,” and “Applying Glue” which I will cite below: </span></div>
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<span style="letter-spacing: 0.0px;">THE BODY OF LACQER AND GLUE</span></div>
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<span style="letter-spacing: 0.0px;">“... When you have come close to the body of your opponent, stick to it without separating. When you have closed in on your opponent’s body, stick to it with strength: head, body, and feet. Often people will close in with their head or feet but will leave out the rest of their body.”</span></div>
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<span style="letter-spacing: 0.0px;">COMPARING STATURE</span></div>
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<span style="letter-spacing: 0.0px;">“Comparing Stature refers to the avoidance of contracting your body in any way whenever you have closed in on an opponent. Close in with strength, extending your legs, waist, and neck, and align your face with that of your opponent...”</span></div>
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<span style="letter-spacing: 0.0px;">APPLYING GLUE</span></div>
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<span style="letter-spacing: 0.0px;">“When you and your opponent strike together and he has checked your blow, continue to apply your sword to his as if you were applying glue, and close in. The essence of this stickiness is to make it difficult for your swords to separate, but you must be mindful not to use too much strength... do so with great tranquility and you will feel no distress. The difference between being sticky and being entangled is that stickiness is strong and entanglement is weak.”</span></div>
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<span style="letter-spacing: 0.0px;">In other words, the press is also used to move an opponent’s body after he is incapacitated, to finish him off, or to aggressively maintain control of the situation before you execute your technique or even if your first technique was unsuccessful. In all of this explanation there was never a mention of speed. When you maintain absolute control of yourself and your own rhythm as you enter into range, you will control your opponent’s rhythm and thus the entire situation. Withdrawing from an opponent is undesirable as it provides an opportunity to be overrun. Conversely, with the press, there is no need to fear advancing into a retreating opponent; even if he is feigning weakness, you are still in control.</span></div>
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<span style="letter-spacing: 0.0px;">As Musashi would say, “you should study this well.”</span></div>
Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com1tag:blogger.com,1999:blog-19111558.post-28857079586095832032013-12-17T01:29:00.000-08:002013-12-17T01:45:28.383-08:00Hawaii Karate Kenkyukai Session: 8 December 2013<br />
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<span style="letter-spacing: 0.0px;">On 08 December 2013, the Hawaii Karate Kenkyukai studied Naihanchi Shodan, Tensho, Seipai, and the Kyan Sai no Kata Dai. Each school performed two rounds of their kata, and following their second performance, they explained/demonstrated the meanings and applications of all the kata movements while fielding any questions.</span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;">History</span></div>
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<span style="letter-spacing: 0.0px;">Previous writeups have explained much of the background behind <a href="http://bujutsublogger.blogspot.com/2012/04/hawaii-karate-kenkyukai-session-april.html"><span style="letter-spacing: 0.0px color: #0126a7; text-decoration: underline;">Naihanchi Shodan</span></a>, <a href="http://bujutsublogger.blogspot.com/2013/04/14-april-2013-hawaii-karate-kenkyukai.html"><span style="letter-spacing: 0.0px color: #0126a7; text-decoration: underline;">Seipai</span></a>, and the <a href="http://bujutsublogger.blogspot.com/2011/06/strong-testament-to-willpower-and.html"><span style="letter-spacing: 0.0px color: #0126a7; text-decoration: underline;">Kyan Sai no Kata Dai</span></a>. Alan Lee Sensei explained that while the Tensho kata does consist of predominantly one-handed techniques with legitimate meanings for the movements, Miyagi Chojun Sensei created it for his Goju Ryu system in order to emphasize suppleness as a complement to the “hardness” of the Sanchin kata.</span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;">Discussion</span></div>
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<span style="letter-spacing: 0.0px;">During this session, there was a lot of discussion during the “open forum” portions after each school explained the meanings of the kata movements. Some of the topics brought up included stepping methods, breathing methodologies, moving off-line, stance dynamics, and understanding distance when studying the meaning of kata movements. I will get into a little of the stepping and breathing discussions below.</span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;">Stepping Methods</span></div>
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<span style="letter-spacing: 0.0px;">There was some conversation regarding stepping methods in the Naihanchi kata, as this kata is performed with only side-to-side stepping. Some schools emphasized stepping in a manner that tested the safety of the ground (i.e. rocks or glass), some used the meaning of stepping over an opponent, while others still used it as a method for stomping or otherwise attacking an opponent’s leg. In OSKA, as we step in Naihanchi we emphasize controlling the body weight in a manner that it is always centered, even as we move from side-to-side. The stance itself also has training benefits, as the flared knee is the exact same setup as our rear leg in our neko ashi (cat stance).</span></div>
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<span style="letter-spacing: 0.0px;">There was also some debate regarding how people breathe during kata (and thus fighting). Some schools proposed that like in kendo, there is minimal visible breathing, as an opponent would be able to time your breathing and strike when you are vulnerable. Others mentioned the importance of how much air should be exhaled and how much should be left in reserve, and most schools usually encourage inhaling through the nose and exhaling through the mouth. </span></div>
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<span style="letter-spacing: 0.0px;">In OSKA, Nakata Sensei would always relate how Chibana Sensei spoke of fighting rhythm as breathing rhythm. Essentially, we inhale to expand and relax, and exhale to tighten. Inhaling as we move allows for flow, but at the end of the move, we exhale to set our stance. Technically we don’t “take” stances, but it is simply the position we end up in during the execution of a technique.</span></div>
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<span style="letter-spacing: 0.0px;">As we execute techniques, we inhale to smoothly start the delivery of a blow and explosively exhale to make contact. Inhaling quickly through the nose can sometimes cause a tendency to lift their shoulders, which causes stiffness or telegraphing of techniques. On the other hand, inhaling quickly through the mouth can emphasize hara (center of balance), while exhaling through the mouth allows for a more explosive exhale as we use our abdominal muscles, diaphragm, and squeezing of the back muscles. Of course, we can quicken our breathing all we want, but we must inhale and exhale with proper timing, otherwise our blows will be weak and ineffective. </span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;">Parting Thoughts</span></div>
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<span style="letter-spacing: 0.0px;">As always, the openness of the Kenkyukai was quite refreshing. Although the dialogue brought to light various viewpoints on a wide range of topics, some of which were exact opposites, it was nice to see all ideas courteously considered and analyzed from so many perspectives. Of course, it is always easy to get along when we are so used to enjoying light refreshments and talking story after every session, right?</span></div>
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<span style="letter-spacing: 0.0px;">Performing the kata (in order):</span></div>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Naihanchi Shodan - OSKA - Alan Yokota (with explanation), John Oberle, Grant Kawasaki </span></li>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Seipai - Minakami Dojo - Sean Roberts Sensei (with explanation)</span></li>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Tekki Shodan - Island Ki - G. Hisae Ishii-Chang Sensei (with explanation)</span></li>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Naihanchi Shodan - International Karate League - Craig Kobayashi Sensei, Steve Lodge Sensei (with explanation), Robert Matsushita Sensei, Gavin Hiramatsu</span></li>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Naihanchi Shodan - Hikari Dojo - Charles C. Goodin Sensei (with explanation)</span></li>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Tensho - Kyokushin - Herbert Ishida Sensei (with explanation), Dean Harada Sensei</span></li>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Sai no Kata Dai - Ryukyu Kobudo Hozon Shinkokai Hawaii - Alan Yokota, John Oberle (with explanation), Steve Lodge</span></li>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Tensho - Senbukan Dojo - Alan Lee Sensei (with explanation), Kyle Nakasone Sensei, Ryan Okata, Chie Young, Matthew Kawamura</span></li>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Naifanchi - Zentokukai - Angel Lemus Sensei (with explanation), Judy Lemus Sensei</span></li>
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Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com1tag:blogger.com,1999:blog-19111558.post-37258994896711726102013-04-24T01:06:00.003-07:002013-04-24T01:14:44.569-07:00Chibana Chosin Sensei: An Interview With Pat Nakata Sensei In March 2010Below is an interview I conducted about Shorin Ryu founder Chibana Chosin Sensei with my instructor Pat Nakata Sensei, who was his direct student. This took place in March of 2010.<br />
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<b><span class="Apple-style-span" style="color: #274e13;">John Oberle (JO):</span> Let us begin by discussing a little about the life of Chibana Chosin </b><b>Sensei. I have seen many variations of the name of his birthplace, such as Torihori, </b><b>Tottori-cho, toribora, etc. What can you tell us about his hometown?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">Pat Nakata Sensei (PN):</span> </b>Chibana Chosin was born in Torihori village, which is located in the Shuri area of Okinawa. In Okinawa, I heard only Torihori and those that pronounce it as Tori-bori were usually Naichi (mainland Japanese). It is humorous when so-called Chibana Shorin-ryu practitioners say that Sensei was born in Tottori-cho, which is in mainland Japan.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Before I go any further on this particular subject, I would like to say that much of my information is from Masahiro Nakamoto and his book, "Okinawa Traditional Old Martial Arts". I consider Nakamoto Sensei the foremost authority on teachers from the Shuri area, especially the ones from Torihori. Nakamoto Sensei writes that originally Torihori was called Tunjumui. Torihori was a residential area where many of the nobility lived.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Around 1868, during the Meiji Restoration, the king was deposed and the nobility, which included most of the Torihori residents, were without a job or support. At the time, the neighboring Sakiyama Village was the most prosperous since they previously enjoyed exclusive rights under the King to brew awamori (Okinawan Sake). The Torihori families decided to become sake brewers. Torihori then became known for its sake brewing.</div>
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<span class="Apple-style-span" style="color: #274e13;"><b>JO:</b></span> <b>That is an area known for many martial artists. What can you tell us about </b><b>Chibana Sensei's family?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>The foremost authority on teachers from Torihori is Nakamoto Masahiro Sensei. According to Nakamoto Sensei, Chibana Chosin Sensei's family lineage was called the family of Sho Ko Toku, the fifth son of King Sho Shitsu. Chibana Sensei's father was one of the most successful sake brewers. Chibana Sensei's uncle, Chibana Choso, was a student of Matsumura Sokon and was a well-known Karate teacher.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>During the Second World War at the time of the American invasion, Chibana Sensei lost his wife and son. Chibana Sensei later took a second wife, but this tragedy had a lasting impact and Chibana Sensei rarely spoke of the war.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> How did Chibana Sensei begin his training?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei told me that he started training when he was thirteen years old, but I am not sure who his teachers were. As he has stated in most of his interviews, at fifteen years old, he dropped out of school and went to request tutelage from Itosu Anko Sensei.</div>
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<span class="Apple-style-span" style="color: #274e13;"><b>JO: </b></span><b>What can you tell us of his training with Itosu Sensei?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>I will touch on it. Talking about his training with Itosu Anko Sensei would fill a book. When Chibana Sensei started training with Itosu Sensei, he was first taught the Naihanchi no Kata Shodan. This was the only Kata that he was taught for 6 months. He was required to practice this Kata for 6 months and perform it 200 times a day. This was Itosu Sensei's way of testing his will and commitment.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> It is often noted that Chibana Sensei ended his formal education early. Have you </b><b>heard of him receiving any other kind of education after this?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Yes. Itosu Anko Sensei was a very educated man, having formerly been the king's scribe. Since Chibana Sensei was with him every day, he taught Chibana Sensei reading, writing (including calligraphy), and arithmetic in addition to Karate.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> How did Chibana Sensei run his classes? I heard towards the end of his life, he only </b><b>taught Naihanchi Sandan and Pinan Godan. Is this true?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>I am not sure how Chibana Sensei ran his classes in the early days. When I trained with him at the dojo, we as a group would do the Kihon no Kata Shodan, Nidan, and Sandan, followed by Naihanchi no Kata Shodan, Nidan, and Sandan. I use the "no Kata" in Kihon "no" Kata, but Chibana Sensei would just say the Kata name such as Kihon Shodan. If it were your first night, Chibana Sensei would have you follow him as he performed Kihon Shodan, immediately after the class performed the opening series. If it was your second night, you would do the Kihon Shodan with the class, then Chibana Sensei would have you follow him on Kihon Nidan. Kihon Sandan would be the same. On the fourth night, you would start the Naihanchi Shodan and move on to the Naihanchi Nidan after a month. There was a 1 month interval for each Naihanchi Kata and Pinan Kata. For the Patsai Kata, Kusanku Kata, and Chinto, there were 2 month intervals.</div>
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<span class="Apple-style-span" style="color: blue;"><b>PN:</b> </span>After the opening series with the whole class, Chibana Sensei would work with everyone individually, except for those that had completed all of the Kata. After you finished the Kihon Kata, Chibana Sensei would not correct you individually. It would be same with Naihanchi. After you completed the Pinan series, Chibana Sensei did not call on you to perform the Pinan Kata. If you wanted to review the Pinan Kata, you would join in with the student(s) at that level as Chibana Sensei called them up.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>After you have completed all of the Kata, you would be called to perform with the group, which would be 2 Kata selected from Patsai, Kusanku, and Chinto. On the Naihanchi and Pinan, Chibana Sensei would have you perform 3 of these Kata. If you were learning the Kata, Chibana Sensei would perform it himself and have you follow him. So, after the opening series, Chibana Sensei would work with the beginners to the advanced. Completing the round would be the group that had learned all of the Kata. Normally, there were 2 rotations, but on a smaller class attendance night, he would do 3 rotations. To complete our evening practice we would do the Kihon and Naihanchi as we did in the opening series.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>That I know of, Chibana Sensei taught all 16 Kata until his last class. I had never heard of him doing otherwise.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> Was there any difference between the way Chibana Sensei taught his classes and </b><b>the way he taught privately?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>I am not sure what you mean by differently. There was a big difference in intensity. At the dojo, the corrections were spread among 10 to 30 people, but during the day, I was alone and each move was scrutinized by Chibana Sensei. One-on-one Chibana Sensei could really explain the application and meaning of the moves. Because of my limited Japanese, Chibana Sensei did a lot of demonstrating so I could understand. On many of the Kata moves, he taught me to perform it differently from everyone else, including himself. At the same time he would explain the reason for the different methodology. In most cases it was much more effective. I must admit though, that it took me many (10 to 20) years to understand much of the explanations.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO: </span>What kind of advice did Chibana Sensei have for his karate students?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei gave much advice, but I would like to stress that Chibana Sensei was not a philosopher. He did not go around philosophizing. Chibana Sensei was a Confucianist. He was a "middle of the roader", a moderate. He normally "preached" moderation. Like: "Train hard, but do not over do it", "You can consume alchohol, but know your limits, and stop before you reach that limit". In other word do not go to extremes.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> What was Chibana Sensei's attitude towards kata as a teaching tool?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>When I asked Sensei on how to improve my fighting skills? He said to practice my Kata. To Sensei, Karate without Kata is not true Karate. Within the Kata are the fighting techniques of the the past teachers. Through the Kata practice one discovers the true meaning of combat.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> To what extent did Chibana Sensei explain the meanings behind movements in the </b><b>kata? Were these the meanings he learned from Itosu Sensei?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Sensei always said that if the basic movement was a punch, then do it strong. If the movement is a block, then do a strong block and likewise for kicks and strikes. Normally, he taught that most movements had 3 meanings. First, there was the basic movements, followed by the grappling type techniques, and ultimately vicious use of nerve points and/or joint breaking techniques. Most of what Chibana Sensei taught came from Itosu Sensei.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> How did Chibana Sensei feel about making modifications to kata?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei often said, "Kata was created and refined by the great past masters. Who am I to change such a great tradition?" As mentioned in Shuguro Nakazato's book, Chibana Sensei tried to teach the Kata exactly how he learned it from Itosu Sensei. Chibana Sensei repeated this to most of his direct students.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> What was your impression of the way Chibana Sensei performed his kata?</b></div>
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<span class="Apple-style-span" style="color: blue;"><b>PN: </b></span>Chibana Sensei's performance of Kata was very precise and refined. There were no extras, no frills, and no unnecessary movements. His Kata was very "clean".</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> Did Chibana Sensei ever explain things in terms of “hard and soft” or “circular and </b><b>linear”?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei never explained techniques in the context of "hard and soft " nor "circular and linear". In fact this type of discussion are more common with modern day Karateka. In the old school, especially in Shorin-ryu, more time was spent training than intellectualizing.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> Did Chibana Sensei ever explain how he came up with the name "Shorin Ryu" for </b><b>his style of karate?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>The Ti that was practiced in Shuri (Shuri-te ([ti]) was often referred to as Shorin, which in Mandarin was Shaolin. These characters were sukunai (少 "small in number") and hayashi (林 "forest"). This read as sukunai hayashi or shorin.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei did not use the sukunai character, but instead he changed it to ko (小 "small or young"), when he named his style. Chibana Sensei felt that the ti practiced and taught in Shuri, were techniques that had become indigenous to Okinawa or Shuri and no longer resembled the Chinese methods. The Chibana Chosin Karate can be considered as orthodox Shuri-te.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> How did Chibana Sensei determine his kata curriculum?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>When Chibana Sensei contemplated teaching Karate, he approached his teacher, Itosu Anko Sensei to discuss his Kata curriculum that he want were he to teach. He apparently told Itosu Sensei that Itosu Sensei had far too many Kata. Itosu Sensei must have agreed with Chibana Sensei and told him to teach the core Kata, which came up to 12 Kata. He instructed Chibana Sensei to retain the Matsumura Patsai and call it Patsai Dai and his (Itosu) Patsai would be Patsai Sho, which brought the total to 13 Kata. Chibana Sensei considered only these 13 Kata as "pure" Shuri-te.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei felt that he needed some introductory Kata, other than Naihanchi. He developed 3 Kihon Kata which brought his curriculum to 16 Kata.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO: </span>I notice Gojushiho was not considered a pure Shuri-te kata so it was not part of his </b><b>curriculum, yet many of Chibana Sensei’s students teach different versions of this kata. </b><b>What can you tell us of Chibana Sensei’s knowledge of Gojushiho?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Gojushiho was not considered to be a core Itosu Kata, so it was not included into Chibana Sensei's curriculum. Yes, Chibana Sensei considered it as Naha-te (Number Kata and taught in China, then brought to Okinawa). Most of the senior Chibana students trained with other instructors and learned their Gojushiho from their respective teachers. I don't think that they teach different versions, but rather do it with slight differences in interpretations. They all do their interpretation of the Matsumura Gojushiho. Chibana Sensei taught me the Itosu no Gojushiho. He showed me the difference between the Itosu Gojushiho and the Matsumura Gojushiho.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO: </span>There are two versions of the Patsai and Kusanku kata in the Shorin Ryu </b><b>curriculum. Where did the different versions come from?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei said that originally there was only one Patsai. The original Patsai was the Matsumura Patsai. How Matsumura Sensei came upon this Kata is unknown. The Tomari (Matsumora / Oyadomori) version is a takeoff of the Matsumura Patsai. Itosu Sensei's Patsai is a takeoff of the Tomari and Matsumura Patsai.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Before Itosu Sensei created the Pinan Kata, the Naihanchi Kata was taught and immediately followed by the Kusanku Kata. Both of the Kusanku Kata were too long and too difficult for the younger students. This is the reason for the creation of the Pinan Kata.</div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei did not make any distinction between the Kusanku Sho and Kusanku Dai. It is believe by most historians that the Kusanku Sho was created by Itosu Sensei and the Kusanku Dai is originally from Tudi Sakugawa, with the other being the Yara Kusanku. Both Sakugawa and Yara were brother students of Kusanku.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> So Chibana Sensei learned both Kusanku Sho and Kusanku Dai from Itosu Sensei?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Of course, Kusanku Sho and Kusanku Dai were considered 2 of Itosu Sensei's 12 core Kata.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO: </span>I have heard varying theories on the origins of the Pinan kata. Did Chibana Sensei </b><b>ever explain how they originated?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei said that the Pinan Kata was created, because when Itosu Anko Sensei introduced Karate into the school system, he found that the Kusanku Kata was too long and too difficult for the younger students. After introducing the Pinan Kata, on the second year Itosu Sensei realized that another Kata (Pinan) was needed for the students who had already learned the Pinan (Shodan). Thus, the second (Nidan), third (Sandan), fourth (Yondan), and fifth (Godan) were added. This may explain the reason that the Pinan Shodan is about the most difficult of the 5 Pinan Kata.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO: </span>There is much talk about "traditional karate" versus the "modern karate" that </b><b>was first introduced into the Okinawan public school system. During his lifetime, some </b><b>would note differences between "Okinawan karate" and "Japanese karate". Did </b><b>Chibana Sensei ever discuss or remark upon these differences?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei never discussed or made a distinction between modern and traditional Karate. Contrary to what has been written, he never made a distinction between sports Karate and traditional Karate. He strongly believed that all Karate is Okinawan.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO: </span>Did Chibana Sensei ever use the makiwara post as a teaching tool?</b></div>
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<span class="Apple-style-span" style="color: blue;"><b>PN: </b></span>Chibana Sensei encouraged hitting the makiwara to develop power and timing. For Chibana Sensei the makiwara was more of a training tool, rather than a teaching tool.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> Did Chibana Sensei practice any weaponry?</b></div>
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<span class="Apple-style-span" style="color: blue;"><b>PN: </b></span>Chibana Sensei did learn weaponry, but we don't know from who (possibly from Tawata Shinjo)? When I mentioned to Chibana Sensei that I was learning Kobudo from Nagaishi Sensei, he told me to bring my weapons so he could show me the basics. I bought a set for Chibana Sensei, since he did not have any weapons. (set: Bo, Sai, Nunchaku and Tonfa) After about 2 weeks, I suggested to Chibana Sensei that we concentrate on just Karate. Sensei agreed and he returned the weapons. I told him that the set was for him. He insisted that he had no use for the weapons and that I should keep it for my own use.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> What were Chibana Sensei's thoughts on sparring?</b></div>
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<span class="Apple-style-span" style="color: blue;"><b>PN: </b></span>Chibana Sensei cautioned that sparring may be detrimental to actual combat. For safety, in sparring we need to pull our punches, strikes and kicks, which will handicap you in actual combat. Sensei never discouraged sparring, as long as we understood that sparring and actual combat were two different things.</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> Did Chibana Sensei ever express his wishes regarding his organization after he </b><b>passed away?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei in 1965, told me that upon his passing that his number 2 grandson, Akira would head Chibana Sensei's Okinawa Shorin-ryu Karatedo Association and take the Chibana name (I believe that Akira's name was Nakazato [not related to Shugoro]).</div>
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<b><span class="Apple-style-span" style="color: #274e13;">JO:</span> What kind of person was Chibana Sensei outside of his karate training?</b></div>
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<b><span class="Apple-style-span" style="color: blue;">PN:</span> </b>Chibana Sensei was very kindly and approachable. Whether it was at the dojo, at home, or in public, Chibana Sensei was always the same.</div>
Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com1tag:blogger.com,1999:blog-19111558.post-67525162378912558222013-04-22T01:14:00.000-07:002013-04-22T01:14:23.990-07:0014 April 2013: Hawaii Karate Kenkyukai Session<br />
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<span style="letter-spacing: 0.0px;">On 14 April 2013, the Hawaii Karate Kenkyukai studied Kanegawa no Timbei, Wansu/Wanshu/Empi, Naihanchi Sandan, and Seipai. Each school performed two rounds of their kata, and following their second performance, they explained/demonstrated the meanings and applications of all the kata movements.</span></div>
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<span style="letter-spacing: 0.0px;">The Kanegawa no Timbei kata is said to be a longstanding weapons tradition and was preserved by Taira Shinken, the founder of Ryukyu Kobudo. Essentially a short spear and shield art, its origins are found in a simple farmer’s hat or wooden pot cover used in conjunction with a sharpened stick (potato digger) called a hira. When the stick has a metal tip, it is called a rochin. When demonstrating the meanings for this kata, I chose primarily to show applications against an opponent armed with a sword. Many kata have a distinct “flavor” to them, and this one has a strong emphasis on deceiving the opponent. This includes feints, constantly hiding the weapon with your shield, and even purposely turning your back on the opponent to draw him in. Because the opponent is armed with a sword, blocks are either jamming the opponent’s attack before he can enter the proper range or deflecting the sword at an angle if he is in the proper range. There are no attempts to block the blade directly, since it could theoretically slice through your shield, especially if it is in fact just a hat or pot cover.</span></div>
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<span style="letter-spacing: 0.0px;">The Wansu/Wanshu kata is considered by some to be the oldest of all Okinawan karate kata. The Okinawan pronunciation is “Wansu” while the more Chinese pronunciation is “Wanshu.” Gichin Funakoshi Sensei renamed it to "Empi" when he introduced karate to the Japanese mainland. The Tomari version of this kata is likely closer to the original version, as opposed to the Itosu version. It was interesting to see the variations of the throw towards the end of the kata as well as the turn/jump which immediately follows. Some schools demonstrated jumping over a low attack, while others jumped over the body of the opponent they just threw. Others have the meaning to actually jump on the opponent as a finishing move. In the Itosu Wansu, according to Chibana Chosin Sensei, the throw takes place during the turn and the opponent is stepped around rather than jumped over.</span></div>
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<span style="letter-spacing: 0.0px;">There is some speculation, although unconfirmed, that the Naihanchi Sandan was a creation of Anko Itosu. Naihanchi Shodan and Nidan, on the other hand, are generally accepted as being the creation of Tudi Sakugawa. In any case, all the Naihanchi kata served as the core kata for the Shurite schools. Chibana Chosin Sensei once explained to my Sensei that when he started training with Itosu Sensei, he was first taught Naihanchi Shodan. This was the only kata he was taught for 6 months, and he was required to practice it 200 times a day. This was Itosu Sensei's way of testing his will and commitment.</span></div>
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<span style="letter-spacing: 0.0px;">The Seipai kata is a Nahate kata, meaning it was imported and performed in Okinawa in the same way it was taught in China. Seipai means “18”, although the number itself does not appear to have any significance. </span></div>
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<span style="letter-spacing: 0.0px;">Performing the kata (in order):</span></div>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Kanegawa no Timbei - Ryukyu Kobudo - Steve Lodge, John Oberle (Explanations)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Empi (Wanshu) - Kenshukan - Ralph Sakauye Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Empi - Island Ki - Frank Lopes and Loma Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2 and Explanations)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Wanshu (Tomari) - Hikari Dojo - Charles Goodin Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Wansu (Tomari) - International Karate League - Craig Hamakawa Sensei (Explanations), Gary Hiramatsu Sensei, Robert Matsushita Sensei, Steve Lodge Sensei, Carl Sunada Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Wansu (Tomari) - Zentokukai - Angel Lemus Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Naihanchi Sandan - OSKA - Grant Kawasaki (Explanations), Ted Kaneshiro, John Oberle</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Naihanchi Sono San - Kyokushin Karate - Herb Ishida Sensei (Explanations), Dean Harada Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Seipai - Senbukan Dojo - Alan Lee Sensei (Explanations), Ryan Okata</span></li>
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<span style="letter-spacing: 0.0px;">Observing: Alan Yokota</span></div>
Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com1tag:blogger.com,1999:blog-19111558.post-75128289099239839722013-03-20T20:22:00.000-07:002013-03-20T20:22:41.661-07:00Life After Sensei<br />
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<span style="letter-spacing: 0.0px;">“At some point, you have to train for yourself.”</span></div>
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<span style="letter-spacing: 0.0px;">I’ve said those words many times over the past six and a half years, either to myself or others. Normally, it’d be after one of us was feeling pretty miserable after an evening of Pat Nakata Sensei’s particularly harsh brand of giving corrections. He always had a way of getting under your skin and making it personal. “It HAD to be personal,” he would often explain. “Something has to break through that barrier so you can break your bad habits.” In the first several years of training, I could have literally used one hand to count the times he paid me compliments on my karate and still not have used all my fingers.</span></div>
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<span style="letter-spacing: 0.0px;">Desperately wanting someone else’s approval was a relatively new experience for me; I’ve always considered myself to be highly self-motivated and quite competitive for achievement’s sake alone. There were many nights where I left the dojo with my mind reeling and my self-esteem knocked down a few pegs. All the same, it would always feel worth it on those rare occasions where Sensei would begrudgingly give one of his heavily qualified compliments. This would invariably result in me spending the rest of the night with a goofy grin on my face (after I left the dojo of course).</span></div>
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<span style="letter-spacing: 0.0px;">The darker side of “at some point you have to train for yourself” was that Sensei wasn’t always going to be around. That point in time began to feel uncomfortably close when he was diagnosed about a year and a half ago with mesothelioma of the heart, an exceedingly rare form of the asbestos-related cancer. Still, a large part of me believed he would miraculously shake this off like he did everything else. After all, this was the superman who had an unexplained heart attack and flat-lined in front of me one night at the dojo, and less than a month after spending 11 days in ICU, was almost back to 100% and just as fierce as ever.</span></div>
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<span style="letter-spacing: 0.0px;">But on Feb 7, 2013, Sensei’s fight was over and the time had come. The preceding weeks gave some indication, but I didn’t want to believe the signs. I didn’t want to believe I would never hear his harsh criticisms, his rare praise, or even one of those stories we’ve all heard him tell a hundred times before. This was the man who made me feel like a part of his family ever since my first day in Hawaii when he took me to his home and his wife Jeanette cooked me dinner. He was the man who would spend hours teaching, mentoring, and inspiring me at least six days a week if not more. </span></div>
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<span style="letter-spacing: 0.0px;">And he was gone.</span></div>
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<span style="letter-spacing: 0.0px;">I took it hard. For the first few days I hardly ate, I hardly slept. I went to work, I went to practice, but it was kind of a daze. I tried to put on a good show but inside I was torn up. If I couldn’t sleep much the first few days, then the next few days were the opposite. Apart from work or practice, pretty much all I did was sleep. I just didn’t have any interest in anything else.</span></div>
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<span style="letter-spacing: 0.0px;">But, leave it to Sensei to be different. Several years ago, he had written his last wishes and left them with his wife, and they stated that he did not want any religious ceremony, memorial, or funeral. Instead, he wanted his students to hold a demonstration and perform all of the karate and kobudo kata in his curriculum. It was just like him; he would never turn down an opportunity to make us train harder and improve. What greater tribute could there be?</span></div>
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<span style="letter-spacing: 0.0px;">Like everyone else, I wanted to look good. More importantly, I wanted my karate to be strong. If my karate was strong, then it would bear witness to Sensei’s legacy. As I resolved to train even harder, it made me remember my words once more. I remembered that I was drawn to Sensei not just because of his own greatness, but because of the greatness he could develop in others. I remembered that I always trained hard because it was the path I chose for myself.</span></div>
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<span style="letter-spacing: 0.0px;">On March 16th, we held the demonstration in his honor and we all did our best. That day has come and gone, but the lifelong demonstration continues. Sensei may not be physically present at the dojo anymore, but he never misses a single practice. I am not alone when I say I can still hear his corrections as I train. I can see that amused glimmer in his eyes as he smiles, and that look of fierce concentration as he trains. And though I still train for myself, it gives me strength as I continue along my path.</span></div>
Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com2tag:blogger.com,1999:blog-19111558.post-20308596522038376142013-01-29T02:18:00.001-08:002013-01-29T02:19:34.802-08:00Hawaii Karate Kenkyukai Session: December 9, 2012<br />
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<span style="letter-spacing: 0.0px;">On 9 December 2012, the Hawaii Karate Kenkyukai held its most recent study session, examining the Pinan/Heian Sandan and Godan, Kyan Bo no Kata Dai, and Gekisai Sandan and Yondan.</span></div>
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<span style="letter-spacing: 0.0px;">Historical context on the Pinan/Heian kata, the Kyan (Ufuchiku) weapon system, and the Gekisai kata can be found in the previous entry <a href="http://bujutsublogger.blogspot.com/2012/11/aug-and-oct-2012-hawaii-karate.html"><span style="letter-spacing: 0.0px color: #0126a7; text-decoration: underline;">here</span></a>.</span></div>
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<span style="letter-spacing: 0.0px;">We continued our new format where everyone performed two rounds of their kata, and after the second round, the meanings / applications of the kata movements were explained and demonstrated with a partner move-by-move from start to finish. Following this round, we split into pairs and each school shared one of those meanings for everyone to practice with a partner. </span></div>
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<span style="letter-spacing: 0.0px;">One of the interesting discussions that took place resulted from a question raised whether everyone felt they should step and/or execute techniques exactly as is practiced in the kata (forms) during an actual fight, or if there is a large degree of variation and modification that should be expected. In my mind, this question deals directly with the often controversial issue of using kata to train for fighting in the first place. I can see the merits of both sides, but I personally lean towards executing the motions as close to the way they are practiced in the kata as possible. For me this boils down to the sports and physical science theory that the mental and physical benefits gained from repetitive physical training are primarily limited to the specific motions practiced, and largely only in the specific manner they are practiced. Simply put, your techniques will be strong if they are executed using the same precise motions and timing as the kata, because that is what you are physically and mentally training yourself to do.</span></div>
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<span style="letter-spacing: 0.0px;">At this point it might be worth mentioning that my general philosophy is rather than have a very large bag of tricks to address the very wide range of situations one can encounter in a fight, I prefer to have various core techniques that are widely applicable without having to modify them. For example, our blocks are structured to be effective regardless if an opponent punches high, medium or low, and with the left hand or the right. Consequently, I also believe that if there are multiple meanings to a certain movement in a kata, the technique has to be executed in the same way for all meanings. An example of this would be towards the end of our Pinan Godan kata, where a “turn and throw” also has the meaning of a block to the front and/or the side. Regardless of the meaning used, the technique is executed in a manner so that all meanings are practical. </span></div>
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<span style="letter-spacing: 0.0px;">At any rate, it is these kinds of discussions that I find very interesting... even if there are differing views it is certainly very educational to look at some of these core fighting and training principles from multiple angles. Plus, it is very nice to be in a sharing forum where we can disagree without becoming disagreeable!</span></div>
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<span style="letter-spacing: 0.0px;">Once we finished, we all stayed afterwards to talk story and enjoy refreshments. Thank you to everyone as always for the food and drink!</span></div>
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<span style="letter-spacing: 0.0px;">Performing the kata (in order):</span></div>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Sandan / Pinan Godan - OSKA - Alan Yokota Sensei, Grant Kawasaki (Explanation for Pinan Sandan), Ted Kaneshiro (Explanation for Pinan Godan), John Oberle</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Heian Sandan / Heian Godan - Minakami Dojo - Sean Roberts Sensei </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Heian Sandan / Heian Godan - Island Ki Dojo - Frank Lopes and Loma Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2 and Explanations)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Sandan / Pinan Godan - International Karate League - Gary Hiramatsu Sensei (representing Nishioka Sensei and Explanations), Robert Matsushita Sensei and Craig Kobayashi Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Sono San / Pinan Sono Go - Kyokushin Karate - Herb Ishida Sensei (Explanations), Dean Harada Sensei </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Kyan Bo no Kata Dai - Ryukyu Kobudo - Alan Yokota Sensei, John Oberle (Explanations)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Gekisai Sandan / Gekisai Yondan - Senbukan Dojo - Alan Lee Sensei (Explanations), Kyle Nakasone Sensei, Ryan Okata</span></li>
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Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com2tag:blogger.com,1999:blog-19111558.post-8751352395591846712012-11-07T18:28:00.001-08:002012-11-07T18:28:05.721-08:00Aug and Oct 2012 Hawaii Karate Kenkyukai Sessions<br />
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<span style="letter-spacing: 0.0px;">On Aug 12 and Oct 14, 2012, the Hawaii Karate Kenkyukai gathered to study the Pinan / Heian Shodan, Nidan, and Yondan Kata, the Kyan Bo no Kata Sho and Kyan Sai no Kata Sho, and the Gekisai Shodan and Nidan Kata.</span></div>
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<span style="letter-spacing: 0.0px;">As mentioned in previous writeups, Itosu Anko Sensei created the Pinan Shodan kata for the Okinawan school system in the early 1900s as a simplified version of Kusanku, which would be easier for the schoolchildren to learn both in terms of kata length and the literal duration of the physical education classes. While there was initially meant to be only one Pinan kata, Itosu Sensei created four more in successive years to give returning students more kata to practice. Funakoshi Sensei renamed the Pinan Kata to Heian, a change which carried over into schools which had ties to Shotokan. In addition, because Pinan/Heian Shodan was viewed as more complex than the Nidan kata, Funakoshi Sensei switched the teaching order, which is why the Heian Nidan kata is equivalent to the Pinan Shodan kata. Variations of the naming convention over the years across different styles is responsible for the difference in the Pinan / Heian kata names listed further below, which are all the same kata.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL19hS_l9O2-CAfjIblmFo7pQGqwDFL6gLpBl7SmNR6ZLXS9haMlEoDnRVrlu7_FKVk2Q81A6xN0unyKWIp06ilimoLkusPK65hGOc3or0yL1CzEeUQaiiy-FlguOFlGCGCCzYmw/s1600/DSC_0012.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL19hS_l9O2-CAfjIblmFo7pQGqwDFL6gLpBl7SmNR6ZLXS9haMlEoDnRVrlu7_FKVk2Q81A6xN0unyKWIp06ilimoLkusPK65hGOc3or0yL1CzEeUQaiiy-FlguOFlGCGCCzYmw/s640/DSC_0012.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Steve Chun and Grant Kawasaki performing Pinan Shodan</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilfTN3qwxZH8T09pzOys6g7XzL7nXxBqFx5K4Riz2uC8ltNFGWbh2wFiaXu9ZITg4eg0C6SOcDv_M2hPh-k7loVWq-C3ooHRJTMVwjk1yAmtaK78I6q3fSitMJxweqxxxTERGiig/s1600/DSC_0015.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilfTN3qwxZH8T09pzOys6g7XzL7nXxBqFx5K4Riz2uC8ltNFGWbh2wFiaXu9ZITg4eg0C6SOcDv_M2hPh-k7loVWq-C3ooHRJTMVwjk1yAmtaK78I6q3fSitMJxweqxxxTERGiig/s640/DSC_0015.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sean Roberts Sensei performing Heian Shodan</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokyfGd83y1l0Td_jsECpQ1ZP945j4gOdDpjPqhcAVau3geYOoEdRyri7ZRas20kvTiFjqiz-j2mm3c3NrqeyKW2fO5Anwet2fOPp4z0Psz66wooQBOIbrBZ7uPelbqJnBzNpTqg/s1600/DSC_0022.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokyfGd83y1l0Td_jsECpQ1ZP945j4gOdDpjPqhcAVau3geYOoEdRyri7ZRas20kvTiFjqiz-j2mm3c3NrqeyKW2fO5Anwet2fOPp4z0Psz66wooQBOIbrBZ7uPelbqJnBzNpTqg/s640/DSC_0022.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ralph Sakauye Sensei perfoming Pinan Shodan</td></tr>
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<span style="letter-spacing: 0.0px;">The Kyan Bo no Kata Sho and Sai no Kata Sho refer to the bo and sai kata taught by Kyan Shinei Sensei, which he had learned from his instructor Kina Shosei Sensei. These kata likely originated from Kina Sensei’s teacher, “Ufuchiku” Kanagusuku Sensei. Ufuchiku Sensei’s bo system is often considered to be a “northern” style due to the influence of Jigen Ryu, which was popular sword style amongst the Satsuma samurai. Evidence to support can be seen via the prevalent use of the “jodan kamae” (upper ready position) where the bo is held over head in a similar fashion as the sword.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ0PtKfDRrcTBDFeUEnuKb-chyf129-rJK2gWBIBzSQtH_nNgLKgf-onK-w8jpUk6n1R8OlsiWV6sU2TFu99-hPjHpcrxxRnUkMc7O9iMNR8wbV3blqazM_Px3_XFQBQbK2RzW4w/s1600/DSC_0026.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ0PtKfDRrcTBDFeUEnuKb-chyf129-rJK2gWBIBzSQtH_nNgLKgf-onK-w8jpUk6n1R8OlsiWV6sU2TFu99-hPjHpcrxxRnUkMc7O9iMNR8wbV3blqazM_Px3_XFQBQbK2RzW4w/s640/DSC_0026.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alan Yokota Sensei and John Oberle performing the Kyan Bo no Kata Sho</td></tr>
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<span style="letter-spacing: 0.0px;">[DSC_26: Alan Yokota and John Oberle performing the Kyan Bo no Kata Sho]</span></div>
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<span style="letter-spacing: 0.0px;">The Gekisai kata were originally created in the attempt to have a simple, universal kata that the many different styles of karate on Okinawa could practice and perform together during exhibitions, study sessions, or just in general. The Gekisai kata were created by Miyagi Chojun of Goju Ryu. While the goal of having a universal kata shared by all karate styles on Okinawa was never quite realized, these kata remained in practice.</span></div>
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<span style="letter-spacing: 0.0px;">For these study sessions we ushered in a newer format. Every school still performed two rounds of their kata, but after the second round, the meanings / applications of the kata movements were explained and demonstrated with a partner move-by-move from start to finish. Following this round, we split into pairs and each school shared one of those meanings for everyone to practice with a partner.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilK6BN6wvs1OCispY7w3eDHa2WZeY2qjiZ7pe8awtpIzTtFTH8WLMC2jl3ROdrSeK8h6aIm3BX0A8oKHEMwSDTH1Gpj6FLxWjybaU6MFN3ar4tvpi9JrpL3_YBbW3Ou85uBZ4bJQ/s1600/DSC_0137.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilK6BN6wvs1OCispY7w3eDHa2WZeY2qjiZ7pe8awtpIzTtFTH8WLMC2jl3ROdrSeK8h6aIm3BX0A8oKHEMwSDTH1Gpj6FLxWjybaU6MFN3ar4tvpi9JrpL3_YBbW3Ou85uBZ4bJQ/s640/DSC_0137.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Pat Nakata Sensei explains a riding block and arm break from the Pinan Shodan kata</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOxpHvCNYyiOeIHIAt1-pf3VQ2U2NxqTvNKp6rc8KRGhzYYQZvAAFOkSk21VqWtTvfH84MNqkWW2Uk91TVAtSI9Xv15xwtTNr1yiPn_KaoJXqvLUt9DQlHfpOSu-bhBiVawQYYlw/s1600/DSC_0034.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOxpHvCNYyiOeIHIAt1-pf3VQ2U2NxqTvNKp6rc8KRGhzYYQZvAAFOkSk21VqWtTvfH84MNqkWW2Uk91TVAtSI9Xv15xwtTNr1yiPn_KaoJXqvLUt9DQlHfpOSu-bhBiVawQYYlw/s640/DSC_0034.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Steve Chun demonstrates a strike from the Pinan Shodan kata</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Tewa0qAV0l5frNrPRGLTMnsdtXKkfaKajPCMlJxB58Air63JoLAUzXifTgaWrxQZBxT_0XvAB96hDwpsm7v2XVCYGLB4uKv_45fF9N0hG7hygspxAA9wB3Jg1r9Z8cUJpHPWEg/s1600/DSC_0041.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Tewa0qAV0l5frNrPRGLTMnsdtXKkfaKajPCMlJxB58Air63JoLAUzXifTgaWrxQZBxT_0XvAB96hDwpsm7v2XVCYGLB4uKv_45fF9N0hG7hygspxAA9wB3Jg1r9Z8cUJpHPWEg/s640/DSC_0041.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Hisae Ishii-Chang Sensei demonstrates a thrust from the Heian Nidan kata</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB4uhgELlKHMM8G8Kz1J6nDJD_78KSVdMHAdWglYr787Lhjwby3MvM26yHUx-9PmMIld4QsWPnhQzYXJk8WcAdoG4lhePiKk2MMUjOdzxhzQpRHUkFm4m2-lqH-yUF3LYN73Odnw/s1600/DSC_0044.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB4uhgELlKHMM8G8Kz1J6nDJD_78KSVdMHAdWglYr787Lhjwby3MvM26yHUx-9PmMIld4QsWPnhQzYXJk8WcAdoG4lhePiKk2MMUjOdzxhzQpRHUkFm4m2-lqH-yUF3LYN73Odnw/s640/DSC_0044.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Robert Matsushita Sensei executing a block from Pinan Shodan</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4iQHp3EWmz3aN4cfwAPfnXGc6kJEnCVynY8kLyToYW7iyeBvwsjgkSqhBuU_QFAKsH_Y2Vw6rrbTH56gnUIr1noe5FbYBqOkz5P4B-ZnIQ5NcUDJUHzkxIXUL6R0nYHC8tOSTyw/s1600/DSC_0062.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4iQHp3EWmz3aN4cfwAPfnXGc6kJEnCVynY8kLyToYW7iyeBvwsjgkSqhBuU_QFAKsH_Y2Vw6rrbTH56gnUIr1noe5FbYBqOkz5P4B-ZnIQ5NcUDJUHzkxIXUL6R0nYHC8tOSTyw/s640/DSC_0062.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Herb Ishida Sensei demonstrates a block from Pinan Sono Ni</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32_dC_6JvfSezbl941bL5APTzFAgVuWj0eoB3qYO10nkT8pZLPUDp9IA80pw4qghZr7bW5tndtbKH3RuyVkO5aeF61OMDlXS9pR39Iy8qGY2BM3mVvruEMld7tbq1YpAfYeyDQw/s1600/DSC_0064.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32_dC_6JvfSezbl941bL5APTzFAgVuWj0eoB3qYO10nkT8pZLPUDp9IA80pw4qghZr7bW5tndtbKH3RuyVkO5aeF61OMDlXS9pR39Iy8qGY2BM3mVvruEMld7tbq1YpAfYeyDQw/s640/DSC_0064.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Alan Yokota Sensei executes a hook / disarm followed by a strike</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3CwSGFDuMyFTodHeydkpFOeySNCvfo6Ho53RDRItrOLEITT7f-jMZXefSAq7tBnV3H7ANmhaOV4rW_JrxsXoF3taXDe-OKZKJ12py0yoIChqLmYUaT-k5tDcjLND_LI690VDc0A/s1600/DSC_0071.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3CwSGFDuMyFTodHeydkpFOeySNCvfo6Ho53RDRItrOLEITT7f-jMZXefSAq7tBnV3H7ANmhaOV4rW_JrxsXoF3taXDe-OKZKJ12py0yoIChqLmYUaT-k5tDcjLND_LI690VDc0A/s640/DSC_0071.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Alan Lee Sensei demonstrates a strike from Gekisai Shodan</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWobWzbGMVlgRG7KfCjzTP0Nor76EkiLcoF8vnNzAXlBJndA2gFvLKvNUH5seCm7jvvBFGmdLu85x8bVEx9jG06_P6TgYZEUIZgQz3DtonwCKyRUJj6HWbVZu14f5-2Re0fEvRTQ/s1600/DSC_0103.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWobWzbGMVlgRG7KfCjzTP0Nor76EkiLcoF8vnNzAXlBJndA2gFvLKvNUH5seCm7jvvBFGmdLu85x8bVEx9jG06_P6TgYZEUIZgQz3DtonwCKyRUJj6HWbVZu14f5-2Re0fEvRTQ/s640/DSC_0103.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Charles Goodin Sensei explains a block and strike from Pinan Shodan</span></td></tr>
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<span style="letter-spacing: 0.0px;">There was an interesting discussion on the development of karate “terminology” as we know it today, and how that in turn can affect our understanding of various techniques. Karate terminology isn’t just a matter of translation; it’s all Greek even to Japanese and Okinawans as well. I’ll never forget the time I visited the dojo of Yonamine Kousuke Sensei (Uechi Ryu) during a trip to Okinawa back in 2007. Yonamine Sensei was preparing some of his students for promotion testing, and he was quizzing them on specific karate terminology, in Japanese of course. It never occurred to me that karate terminology would be foreign even to native speakers, although now it seems to make sense.</span></div>
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<span style="letter-spacing: 0.0px;">Chibana Sensei often demonstrated techniques rather than using “standard terminology”. Upon being asked, he mentioned to Nakata Sensei that back in the old days, there was no real set terminology used in karate. Teaching was done in standard conversational Okinawan or Japanese, and most everything was demonstrated for proper visualization. It was only much later that “formalized” karate terminology emerged, largely due to the efforts of mainland Japanese to catalogue their techniques and stances. Yoko te (side of the hand) became shuto (knife or sword hand), yoko ashi (side of the foot) is now called sokuto (sword foot), and mae nagai dachi (forward long stance) is now referred to as zenkutsu-dachi (forward bent knee stance). In comparing some of the old kata to the modernized kata, it seems that when a move or stance in the old version of a kata did not fit neatly into the confines of the new terminology, then that move or stance was modified.</span></div>
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<span style="letter-spacing: 0.0px;">One of the more evident examples of terminology affecting understanding is the distinction between what are now called yoko geri and mae geri. Geri (keri) means “kick”, while yoko means “side” and mae means “front”. Therefore yoko geri is taken literally to mean “side kick” in the sense of a kick towards the side, while mae geri refers to a “front kick” in the sense of a kick towards the front. </span></div>
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<span style="letter-spacing: 0.0px;">Originally, yoko geri was called “yoko ashi yoko geri,” which breaks out to: yoko ashi (side of the foot) yoko geri (side kick). Simply put, a kick to the side using the side of your foot. Over time, the term was shortened to “yoko geri.” Mae geri on the other hand used to be called “tsuma saki mae geri”, which breaks out to: tsuma (toe) saki (tip) mae geri (front kick). In other words, a toe kick to the front. This too was shortened simply to “mae geri.” These abbreviations became so ingrained that soon, kicks using the side of the foot were only done to the side and toe kicks were only done to the front.</span></div>
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<span style="letter-spacing: 0.0px;">However, in some original Shorin Ryu kata such as Pinan Yondan or the two Kusanku, there is a kick that was originally called “tsuma saki yoko geri”, or in other words, a toe kick towards the side (with the body still facing forward). Using modern terminology, one would view this kick as a mix between mae geri and yoko geri. Some schools focused more on the “toe kick” aspect and altered the move so the performer turns their body fully towards the side to execute their mae geri (with a toe kick). Others focused more on the “to the side” portion and instead performed a yoko geri (hitting with the side of their foot) while still keeping their body oriented forwards. In both cases, there was a modification to the original movement and meaning, which again was having your body oriented forwards, but kicking with your toe towards your side.</span></div>
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<span style="letter-spacing: 0.0px;">To me, this goes to show that karate terms must always be specific and demonstrated fully for students to understand. Thinking about it, I suppose this would apply even to our kenkyukai study sessions, where many different schools gather together to share their techniques with one another. Sometimes it is useful to remember that our semantics can make our karate terminology a foreign language, even to other other karate schools!</span></div>
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<span style="letter-spacing: 0.0px;">Once we finished, we all stayed afterwards to talk story and enjoy refreshments. On 12 Aug these were provided by Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises), Grant Kawasaki (Hanapa’a Sushi), Lee Sensei, Nakasone Sensei, Ishii-Chang Sensei, Matsushita Sensei, Loma Lopes, Nakata Sensei, and Yokota Sensei.</span></div>
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<span style="letter-spacing: 0.0px;">After our 14 Oct, we had a birthday celebration for Nakata Sensei, which Goodin Sensei helped to organize. Ishii-Chang Sensei outdid herself with a delicious and organic birthday cake. She claims to very rarely bake cakes... but if that’s true, then what a shame! We had a veritable feast, with additional refreshments provided by Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises), Grant Kawasaki (Hanapa’a Sushi), Goodin Sensei, Hamakawa Sensei, Harada Sensei, Hiramatsu Sensei, Lee Sensei, Nakata Sensei, Roberts Sensei, Shimabukuro Sensei, Yokota Sensei, and Loma Lopes. Thank you everyone!</span></div>
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<span style="letter-spacing: 0.0px;">Performing the kata on 12 Aug (in order):</span></div>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Shodan - OSKA - Steve Chun, Grant Kawasaki</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Heian Shodan - Minakami Dojo - Sean Roberts Sensei </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Heian Nidan - Island Ki Dojo - Taylour Chang, Frank Lopes, and Loma Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2 / Explanation)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Nidan - International Karate League - Robert Matsushita Sensei (representing Walter Nishioka Sensei) and M.J. Matsushita</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Shodan - Hikari Dojo - Charles Goodin Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Shodan - Kenshukan Karate Kobudo Association - Ralph Sakauye Sensei(representing James Miyaji Sensei) </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Sono Ni - Kyokushin Karate - Herb Ishida Sensei, Dean Harada Sensei </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Kyan Bo no Kata Sho - Ryukyu Kobudo - Alan Yokota Sensei, John Oberle </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Gekisai Shodan - Senbukan Dojo - Alan Lee Sensei, Kyle Nakasone Sensei</span></li>
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<span style="letter-spacing: 0.0px;">Observing:</span></div>
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<span style="letter-spacing: 0.0px;">James Miyaji Sensei</span></div>
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<span style="letter-spacing: 0.0px;">Rodney Shimabukuro Sensei</span></div>
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<span style="letter-spacing: 0.0px;">Carl and Clyde Kinoshita</span></div>
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<span style="letter-spacing: 0.0px;">Tommy Terayama</span></div>
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<span style="letter-spacing: 0.0px;">Special thanks to Clyde and Carl Kinoshita for their photography during the 12 Aug session.</span></div>
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<span style="letter-spacing: 0.0px;">Performing the kata on 14 Oct (in order):</span></div>
<ul>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Nidan and Pinan Yondan - OSKA - Alan Yokota Sensei, Steve Chun, John Oberle</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Heian Nidan and Heian Yondan - Minakami Dojo - Sean Roberts Sensei </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Heian Shodan and Heian Yondan - Island Ki Dojo - Frank Lopes and Loma Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2 / Explanation)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Shodan and Pinan Yondan - International Karate League - Craig Hamakawa Sensei and Gary Hiramatsu Sensei (representing Walter Nishioka Sensei)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Nidan and Pinan Yondan - Hikari Dojo - Charles Goodin Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Shodan and Pinan Yondan - Kenshukan Karate Kobudo Association - Ralph Sakauye and Shawna Carino Sensei (representing James Miyaji Sensei) </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Pinan Sono Ichi and Pinan Sono Yon - Kyokushin Karate - Dean Harada Sensei </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Kyan Sai no Kata Sho - Ryukyu Kobudo - Alan Yokota Sensei, John Oberle </span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Gekisai Nidan - Senbukan Dojo - Alan Lee Sensei, Ryan Okata</span></li>
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<span style="letter-spacing: 0.0px;">Observing:</span></div>
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<span style="letter-spacing: 0.0px;">Rodney Shimabukuro Sensei</span></div>
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<span style="letter-spacing: 0.0px;">Stephen Lodge Sensei</span></div>
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<span style="letter-spacing: 0.0px;">Robin Sagadraca</span></div>
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Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com7tag:blogger.com,1999:blog-19111558.post-34259924313310899782012-10-13T01:57:00.000-07:002012-10-13T01:57:04.022-07:00Hawaii Karate Kenkyukai: 10 June 2012<br />
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<span style="letter-spacing: 0.0px;">On June 10, 2012, the Hawaii Karate Kenkyukai met for their bimonthly training and to study the Jion, Patsai/Passai, Nipaipo, and Saifa/Saifua kata.</span></div>
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<span style="letter-spacing: 0.0px;">Jion is a Tomari-te kata, although it was spread mainly via several students of Itosu Anko Sensei, similar to the related Jiin and Jutte kata. This was known as the signature kata of Hanashiro Chomo, one of Itosu Sensei’s students.</span></div>
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<span style="letter-spacing: 0.0px;">The Patsai/Passai kata is a Shuri-te kata, believed to have been created by “Bushi” Matsumura Sokon. The Matsumura version is called Patsai Dai in Shorin Ryu, having been learned by Chibana Chosin Sensei via Tawada Shinjo, the son of Tawada Shinboku who was a student of Bushi Matsumura. Upon the advice of his teacher Itosu Anko, Chibana Sensei retained this kata in his curriculum, and was told to call his (Itosu’s) version “Patsai Sho.” Since history just enjoys being confusing, the Patsai Sho kata is known as Bassai Dai in Shotokan Karate. This is partly due to the existence of another albeit minor Patsai kata created by Itosu Sensei called the Patsai Gwa. “Gwa” in Okinawan is actually the same character as “Sho”, which means “minor”. It is known as Bassai Sho in Shotokan Karate.</span></div>
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<span style="letter-spacing: 0.0px;">Nipaipo is a Shito Ryu kata with its origins in the Chinese tea merchant Gokenki, who taught the techniques to Mabuni Kenwa Sensei. It is a “number” kata with the name meaning “28.”</span></div>
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<span style="letter-spacing: 0.0px;">Saifa/Saifua is not a “number” kata, but it was brought back from China by Kanryu Higaonna Sensei. The name itself means “smash and tear”, and appropriately, the movements include a lot of grabbing, ripping, tearing. </span></div>
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<span style="letter-spacing: 0.0px;">Every school performed two rounds of their kata, providing answers to any questions following their second performance. We then split into pairs and each school shared a meaning from the performed kata and allowed everyone to practice with a partner.</span></div>
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<span style="letter-spacing: 0.0px;">Once we finished, we all stayed afterwards to talk story and enjoy refreshments provided by Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises), Grant Kawasaki (Hanapa’a Sushi), Lee Sensei, Nakasone Sensei, Sasano Sensei, Ishii-Chang Sensei, Loma Lopes, Nakata Sensei, and Alan Yokota.</span></div>
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<span style="letter-spacing: 0.0px;">Performing the Kata (in order):</span></div>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Jion - Ryukyu Kobudo - Alan Yokota, John Oberle</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Jion - Island Ki Dojo - John and JoAnn Endou, Taylour Chang, and Frank Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Jion - Kenshukan Karate Kobudo Association - Shawna Carino (representing James Miyaji Sensei)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Jion - Aikenkai - George Sasano Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Passai (Tomari) - Hikari Dojo - Charles Goodin Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Passai Gwa - Zentokukai - Angel Lemus Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Patsai Dai (Matsumura) - OSKA - Steve Chun and Grant Kawasaki</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Nipaipo - International Karate League - Wayne Okamura Sensei, Gary Hiramatsu Sensei, and Robert Matsushita Sensei (representing Walter Nishioka Sensei)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Saifa - Kyokushin Karate - Dean Harada Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;">Saifua - Senbukan Dojo - Alan Lee Sensei, Kyle Nakasone, Ryan Okata</span></li>
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<span style="letter-spacing: 0.0px;">Observing:</span></div>
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<span style="letter-spacing: 0.0px;">James Miyaji Sensei</span></div>
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<span style="letter-spacing: 0.0px;">Carl and Clyde Kinoshita</span></div>
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<span style="letter-spacing: 0.0px;">Loma Lopes</span></div>
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<span style="letter-spacing: 0.0px;">Tommy Terayama</span></div>
Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com0tag:blogger.com,1999:blog-19111558.post-20791106692117696472012-04-24T10:56:00.000-07:002012-04-24T10:56:12.650-07:00Hawaii Karate Kenkyukai Session: April 15, 2012<span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Most people remember April 15th as tax day, but for the Hawaii Karate Kenkyukai, it was when we held our latest training session. The kata we studied were Seisan/Seishan/Hangetsu kata, Naihanchi/Tekki Sandan, and Anan.</span><br />
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<span style="letter-spacing: 0px;">Starting off with a little bit of karate history, the Seisan kata, also referred to as Seishan when using a more Japanese pronunciation, was introduced to Okinawa via Matsumura Sokon of Shuri. Despite this, it is considered to be a Naha-te kata, since it was originally taught in China and brought back to Okinawa. The fact that it is a “number” kata, literally meaning “13”, also lends credence to this idea, as that is a common indicator it was imported from China. This being said, three main variants appeared over the years, reflective of overall themes in Okinawan karate. The Shuri version was taught by Itosu while the Tomari version was taught by Chotoku Kyan, with both having learned Seisan from Matsumura Sokon. The Naha version was taught by Arakaki Seisho, who most likely directly imported Seisan from China at a later date than Matsumura. Gichin Funakoshi changed the name to Hangetsu (Half Moon) for Shotokan.</span></div>
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<span style="letter-spacing: 0px;">All three of the Naihanchi kata (Shodan, Nidan, Sandan) were created by Tudi Sakugawa. Some believe it was actually Itosu Anko who created Naihanchi Sandan, but according to Chibana Sensei, Itosu emphasized that all three Naihanchi kata should never be altered because they were created by a master as skilled as Tudi Sakugawa. Sakugawa created these kata using techniques learned while training in Peking (Beijing) in northern China. This is in contrast to many other Okinawan karate pioneers, who primarily studied in southern China, often in the Fuzhou area of Fukien (Fujian). The main focus of this kata is developing strong and powerful basics. These kata were renamed to Tekki (Iron Horse) by Gichin Funakoshi. As an interesting note, Kyokushin refers to them as Naihanchi, but use “Sono Ichi/Ni/San” rather that “Shodan/Nidan/Sandan”. “Sono” is a Japanese counter word that is roughly equivalent to “volume”, as different volumes of books, so they have Naihanchi Volumes 1-3.</span></div>
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<span style="letter-spacing: 0px;">The Anan kata comes from Naha-te Ryuei Ryu, which was the Nakaima family style only introduced to the public in the early 1970s. The version that Roberts Sensei performed was the Shito Ryu Hayashi-ha version, which they had added to their curriculum at some point after Ryuei Ryu became public. Like many karate kata, the name itself has no known meaning.</span></div>
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<span style="letter-spacing: 0px;">During the portion where the different schools explained a movement or set of movements and the fighting application, I noticed there seemed to be a common Naha-te theme in the Seisan kata of hitting an attacking arm and then a smooth transition to grabbing and pulling off-balance, as demonstrated in the meanings by Lemus and Nakata Sensei, rather than just trying to grab an attack mid-air. In addition, a lot of the other schools demonstrated the response to a reverse bear hug, which involved dropping the body weight and easily breaking the grip by bringing the arms forward. This effectively both raises the level of and separates the opponent’s arms without having to sacrifice a strong biomechanical position yourself. An even simpler response is just to drop weight and strike the opponent’s groin, which works even if the lock is much lower on the body.</span></div>
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<span style="letter-spacing: 0px;">A technical word of advice was given on the knee kick, which appeared in one of the meanings that was demonstrated. In order to effectively generate the greatest amount of force into the opponent, it is important to bring the opponent’s body down fairly low. When they are not brought down low enough, you will almost always find your grounded leg start to lift up or your striking leg having to reach out past your optimal power generation range in order to strike.</span></div>
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<span style="letter-spacing: 0px;">After the session ended, refreshments were provided by Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises), Grant Kawasaki (Hanapa’a Sushi), Sasano Sensei, Ishii-Chang Sensei, Loma Lopes, Nakata Sensei, and Alan Yokota. It is always nice talking story and catching up on how everyone is doing! </span></div>
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<span style="letter-spacing: 0px;">Performing the Kata (in order):</span></div>
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<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Seisan - Ryukyu Kobudo - Pat Nakata Sensei, Alan Yokota, Roy Rivera, John Oberle</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Hangetsu - Island Ki Dojo - Taylour Chang and Frank Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Seisan - Kenshukan Karate Kobudo Association - Ralph Sakauye and Shawna Carino (representing James Miyaji Sensei)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Seishan - International Karate League - Craig Hamakawa (with participation from Gary Hiramatsu Sensei, representing Walter Nishioka Sensei, and Robert Matsushita)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Seisan - Zentokukai - Angel Lemus Sensei, Judy Lemus Sensei, and Rob Toonen</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Naihanchi Sandan - OSKA - Pat Nakata Sensei, Alan Yokota, Steve Chun, Grant Kawasaki, and John Oberle</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Tekki Sandan - Aikenkai - George Sasano Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Naihanchi Sono San - Kyokushin Karate - Herb Ishida Sensei and Dean Harada Sensei</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Naihanchi Sandan - Dexter Chun (representing Charles Goodin Sensei)</span></li>
<li style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Anan - Minakami Dojo - Sean Roberts Sensei</span></li>
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<span style="letter-spacing: 0px;">Carl and Clyde Kinoshita</span></div>
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<span style="letter-spacing: 0px;">Loma Lopes (Frank Lopes’s wife)</span></div>
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<span style="letter-spacing: 0px;">Tommy Terayama</span><br />
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On the docket was the Seienchin/Seiunchin/Seiyunchin kata, the Kihon kata, Wankan/Okan/Matsukage, Kojo no Sai, and Wanchin.<br /><br />Performing the Seienchin/Seiunchin/Seiyunchin kata were Kyokushin Karate, Senbukan Dojo, and Minakami Dojo, respectively. This kata is generally believed to have been passed down by Kanryo Higaonna who learned it while in China. There is also another version in the style of Ryueiryu, as founder Nakaima Kenri had also trained in China even earlier, as he was nearly fifty years older. Like most kata, the name’s meaning is lost in history, as it was passed down orally or written down in katakana without the use of Chinese characters.<br /><br />Next up were the three Kihon Kata by OSKA. Chibana Chosin Sensei formulated these kata, which contain basic but powerful fighting sequences.<br /><br />Following this, the schools performing Wankan/Okan/Matsukage were Island Ki, Hikari Dojo, International Karate League, Kenshukan, and Aikenkai. While Wankan is sometimes rendered as “King’s Crown”, the use of meaning derived from Chinese characters was something added retroactively, as the name had been passed down orally or written in katakana. <br /><br />Rounding out the kata portion was Ryukyu Kobudo performing Kojo no Sai and Zentokukai performing Wanchin. Kojo no Sai is considered the oldest sai kata in Okinawa, having been passed down by the Kojo family. Wanchin is a kata created by Zenryo Shimbakuro Sensei for his dojo’s grand opening in 1962, and the name was derived from a combination of Wansu and Chinto.<br /><br />After each school performed their kata twice and answered questions regarding the meanings of various movements after the second round, everyone partnered up to practice techniques from the kata as presented by each school. Indicative of their respective fighting methodologies, they ranged from stepping off-line to avoid an attack, combination strikes, grappling and catching techniques, to walking in directly to attack an opponent.<br /><br />After the conclusion, refreshments were provided by Lee Sensei, Nakasone Sensei, Ishii-Chang Sensei, Nakata Sensei, Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises) and Grant Kawasaki (Hanapa’a Sushi) and everyone enjoyed themselves talking story. <br /><br />Performing the Kata (in order):<br />Seienchin - Kyokushin Karate - Dean Harada Sensei (representing Herbert Ishida Sensei)<br />Seiunchin - Senbukan Dojo - Alan Lee Sensei and Kyle Nakasone Sensei<br />Seiyunchin - Minakami Dojo - Sean Roberts Sensei<br />Kihon Kata Shodan, Nidan, Sandan - OSKA - Alan Yokota, Steve Chun, Grant Kawasaki, John Oberle<br />Wankan - Island Ki Dojo - Taylour Chang and Frank Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2)<br />Wankan (Okan) - Hikari Dojo - Charles Goodin Sensei<br />Wankan / Matsukage - International Karate League - Gary Hiramatsu Sensei (representing Walter Nishioka Sensei)<br />Wankan - Kenshukan Karate Kobudo Association - Shawna Carino (representing James Miyagi Sensei)<br />Wankan - Aikenkai - George Sasano Sensei<br />Kojo no Sai - Ryukyu Kobudo - Alan Yokota (representing Fumio Nagaishi Sensei), Roy Rivera, John Oberle<br />Wanchin - Zentokukai - Angel Lemus Sensei, Judy Lemus, Ruth Gates, and Rob Toonen<br /><br />Observing:<br />Walter Nishioka Sensei<br />James Miyaji Sensei<br />Robin Sagadraca<br /><br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com0tag:blogger.com,1999:blog-19111558.post-30218717755667700522012-01-02T23:51:00.000-08:002012-01-02T23:56:52.257-08:00Kime and the Hawaii Karate Kenkyukai December 2011 Training SessionThe Hawaii Karate Kenkyukai held their last session of the year on December 11, 2011, coming together to study the Gekisai Ni(dan), Chinto/Gankaku, Jiin, and Maezato no Tekko kata. This was followed by an open discussion of “one-step attack” range and the walk-in, as well as kime (focus). The last portion of this article will focus (pardon the pun) on the discussion of kime.<br /><br />Senbukan Dojo and Kyokushin Karate started off the first round of kata with their performance of Gekisai Nidan/Ni. As discussed in previous write-ups, this kata series was originally devised in an attempt to create a universal kata for use in demonstration and training on Okinawa, but it did not catch on with many schools.<br /><br />The next kata performed was Chinto, which according to popular legend, is derived from the Chinese martial artist/sailor Chinto. The Okinawan king’s bodyguard, “Bushi” Matsumura Sokon was originally sent to detain this individual, but they befriended each other and the kata is a representation of the fighting techniques that Chinto taught Matsumura Sokon. As such, it is generally accepted to be originally a Shuri-te kata and was continued on by Itosu Anko with minor modifications.<br /><br />Minakami Dojo, Hikari Dojo, and Zentokukai performed their similar Tomari-te versions of Chinto. These renditions are easily identifiable by the beginning move switching left off to a 45 degree angle rather than starting straight on. Many old school historians believe this version was introduced to the Tomari schools by Yabu Kentsu, a student of Matsumura Sokon and Itosu Anko. Nowadays, it is more commonly referred to as the Tomari Chinto, Kyan (Chotoku) Chinto, or the Tomari Kyan Chinto. <br /><br />OSKA, IKL, Kenshukan Dojo, and Island Ki then performed their versions of the Itosu Chinto. Shotokan karate refers to Chinto as Gankaku, which means “crane on a rock.” Shotokan founder Funakoshi Gichin renamed most of his kata for political reasons, as he did not want them to sound Chinese. The new names were written in kanji, but the names of the original Okinawan Shuri-te and Tomari-te kata were written in katakana due to the oral tradition of most early karate. One of the differences between the Shuri-te and Tomari-te versions of the kata was a signature “take-off” move. Interestingly enough, the Tomari-te versions perform this movement closer to the original Matsumura Sokon manner, with both hands coming out to the side, and back to the center. The Itosu version brings the fists down to the hips (with elbows out to the side) and the take-off occurs first with one side, then the other. This key difference is also noted in the Matsumura and Itosu versions of Gojushiho.<br /><br />The last two kata were Jiin performed by Aikenkai Shotokan and Maezato no Tekko by Ryukyu Kobudo. This “pairing” was chosen because Taira Shinken (whose mother’s name is Maezato) is believed to have used the Jiin Kata to create the tekko kata. I have heard this stated before, but it really sank in when I saw Sasano Sensei perform Jiin before we did Maezato no Tekko, and I could observe the similarities. Jiin itself is considered a Tomari-te kata, but like the related Jion and Jutte kata, were primarily popularized via students of Itosu Anko. As for the tekko, it can be made from brass (iron) knuckles (knuckle dusters), modified stirrups (abumi), or horseshoes (chimagu). It is most likely to have been directly imported from China as knuckle dusters, however. Once the first round was completed, everyone performed the same kata once more, allowing for questions when they were completed.<br /><br />A discussion was first brought up on the notion of a “one-step attack” range. For a write-up on this concept, please see <a href="http://bujutsublogger.blogspot.com/2010/12/hawaii-karate-kenkyukai-december-5-2010.html">my post from a year ago</a>. Suffice it to say, we broke off into pairs and practiced first identifying this range, then having someone cross that range into striking distance. It was interesting to observe the varying natural tendencies of all present, depending on their various training methodologies and approaches to fighting.<br /><br />Following this, there was a discussion on the concept of kime (focus) stemming from a question on whether kime can be more or less effective depending on how short or long it is. Simply stated, kime is explosive power generated by timing the movement of the body and striking limb in order to lock down all the muscles, ligaments, tendons, etc. as contact and penetration occurs. This is to ensure all power is generated into the target with minimal recoil or loss of power in different directions. An explosive exhale is integral to coordinating this locking of the body.<br /><br />With the above definition in mind, it is important to focus on the notion of correct and coordinated timing. While explosiveness indicates that the entirety of kime must occur over a very short time, dare I say instantaneously, it must first occur at the right time or it will not occur at all. If it is attempted early before contact, the technique will be “muscled” and lack true penetrating power since it ends up as a “push” suffering from deceleration and misdirection of force. If tightening of the body happens “late”, power is also diminished via recoil back into the body or via cushioning of the blow as the striking surface decelerates and/or pulls away from the target. In other words, if an attempt at kime is early or late, it will suffer from a lack of power for largely the same reasons. Therefore kime can not be slow, fast, short, long, or incorrect... it either is, or it isn’t. Nakata Sensei often uses the seemingly frustrating statement “kime is kime is kime.” Sometimes maybe that is the best way to describe it! <br /><br />After the conclusion, refreshments were provided by Lee Sensei, Ishii-Chang Sensei, Nakata Sensei, and Grant Kawasaki (Hanapa’a Sushi) and everyone enjoyed themselves talking story. <br /><br />Performing the Kata (in order):<br />Gekisai Nidan - Senbukan Dojo - Alan Lee Sensei and Ryan Okata<br />Gekisai Ni - Kyokushin Karate - Dean Harada Sensei (representing Herbert Ishida Sensei)<br />Chinto - Minakami Dojo - Sean Roberts Sensei<br />Chinto - Hikari Dojo - Charles Goodin Sensei<br />Chinto - Zentokukai - Angel Lemus Sensei<br />Chinto - OSKA - Alan Yokota, Grant Kawasaki, and John Oberle<br />Chinto - International Karate League - Stephen Lodge (representing Walter Nishioka Sensei)<br />Chinto - Kenshukan Karate Kobudo Association - Ralph Sakauye and Shawna Carino (representing James Miyaji Sensei)<br />Gankaku - Island Ki dojo - Taylour Chang and Frank Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2)<br />Jiin - Aikenkai Shotokan - George Sasano Sensei<br />Maezato no Tekko - Ryukyu Kobudo - Alan Yokota (representing Fumio Nagaishi Sensei), Roy Rivera, Stephen Lodge, and John Oberle<br /><br />Observing:<br />Rodney Shimabukuro Sensei<br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com1tag:blogger.com,1999:blog-19111558.post-60940485153504784242011-10-17T19:12:00.000-07:002011-10-17T19:23:32.348-07:00Hawaii Karate Kenkyukai - October 9, 2011On October 9th, 2011, the Hawaii Karate Kenkyukai gathered to train together and study the Niseishi, Naihanchi Sandan, Gekisai, Fukyuugata, and Wanchin kata.<br /><br />At the beginning and the end of the training, we shared a moment of silence for Shihan Bobby Lowe, who passed away on 14 September 2011. Lowe Sensei was a senior member of the Hawaii Karate Kenkyukai and very much a part of the Hawaiian karate community for many years. He was the Dai Sempai for the entire Kyokushin organization and a man who truly loved karate. Lowe Sensei, OSU!<br /><br />The schools performing Niseishi/Nijushiho were Ryukyu Kobudo, Island Ki, IKL, Kenshukan and Minakami Dojo. Niseishi is a Nahate kata, meaning that it was directly imported from China, being taught and performed in the same manner as it was in China. According to Chibana Sensei, most Nahate kata were generally “numbered”. Niseishi is the Chinese pronunciation of the kata, literally meaning “24”. One of the main versions of Niseishi practiced today came from Arakaki Seisho, who taught this kata to Shito-ryu founder Mabuni Kenwa. The kata spread further when Shotokan founder Funakoshi Gichin incorporated this kata into his system after sending his students Nakayama Masatoshi and Ohtsuka Hironori to learn it from Mabuni. Hironori Ohtsuka later founded his own style known today as Wado Ryu Karate. As such, the different schools performing had interesting variations in pattern and technique, but were fairly similar.<br /><br />The remaining schools do not practice Niseishi, so they demonstrated different kata. OSKA did the Naihanchi Sandan kata, one of the basic mainstays of Shorin-ryu. It was explained that some believe the Naihanchi Shodan and Nidan kata were created by Tudi Sakugawa and that Naihanchi Sandan was created by Itosu Anko. According to Chibana Sensei, his teacher Itosu Anko actually emphasized that all the Naihanchi kata should never be altered because Tudi Sakugawa, who created the Naihanchi kata fighting system after training in China, was such a skilled master. This suggests that they were all created by Tudi Sakugawa instead. The focus of the Naihanchi kata is strong, powerful basics.<br /><br />The next group of kata were interrelated, with Kyokushin Karate performing Gekisai Sho, Senbukan performing Gekisai Shodan, and Hikari Dojo performing Fukyugata Ni. It was explained that the Gekisai kata and Fukyugata were originally created in the attempt to have a simple, universal kata that the many different styles of karate on Okinawa could practice and perform together during exhibitions, study sessions, or just in general. Fukyugata Ichi was developed by Nagamine Shoshin of Matsubayashi Ryu and the Gekisai Sho (referred to as Fukyugata Ni by Matsubayashi Ryu) was created by Miyagi Chojun of Goju Ryu. In the end, the goal of having a universal kata shared by all karate styles on Okinawa was not realized.<br /><br />Rounding off the kata demonstration portion, Wanchin was performed by the Ninchokan Dojo. Wanchin was created by Shimabukuro Zenryo and presented at the grand opening of his Seibukan dojo in 1962. It was explained that the name did not have any special meaning, only that it was chosen because it sounded similar to what a traditional Okinawan kata would be called.<br /><br />After each kata was demonstrated twice and questions were asked, everyone broke into pairs and practiced techniques from the various kata. Both this section of the training as well as the demonstration of the kata emphasize to me the similar and differing approaches that each style brings to the table. As techniques were explained, some styles moved completely off-line to avoid attacks, others stepped back to change distance, and others still simply rotated the body. Other differing approaches included using blocks to destroy an opponent’s attack or simply to redirect it.<br /><br />Performing the Kata (in order):<br />Niseishi - Ryukyu Kobudo - Pat Nakata Sensei, Alan Yokota (representing Fumio Nagaishi Sensei), Roy Rivera, and John Oberle<br />Nijushiho - Island Ki dojo - Taylour Chang (Round 1) and Hisae Ishii-Chang Sensei (Round 2) with participation in the application practice by Frank Lopes <br />Niseishi - International Karate League - Stephen Lodge (representing Walter Nishioka Sensei)<br />Niseishi - Kenshukan Karate Kobudo Association - Shawna Carino (representing James Miyaji Sensei)<br />Niseishi - Minakami Dojo - Sean Roberts Sensei<br />Naihanchi Sandan - OSKA - Pat Nakata Sensei, Alan Yokota, Steve Chun, Grant Kawasaki, and John Oberle<br />Gekisai Sho - Kyokushin Karate - Herbert Ishida Sensei<br />Gekisai Shodan - Senbukan Dojo - Alan Lee Sensei, Kyle Nakasone Sensei and Ryan Okata<br />Fukyugata Ni - Hikari Dojo - Charles Goodin Sensei<br />Wanchin - Ninchokan Dojo - Angel Lemus Sensei and his wife Judy Lemus Sensei<br /><br />Observing:<br />Walter Nishioka Sensei, James Miyaji Sensei, Rodney Shimabukuro Sensei, Robin Sagadraca<br /><br />After the session was over we shared light refreshments and as always, had a fun time talking story. Food and drink were provided by the following: Grant Kawasaki/Hanapa’a Sushi, Steve Chun/C.Q. Yee Hop Co./Commercial Enterprises, Kyle Nakasone Sensei, and Pat Nakata Sensei.<br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/ippon+kowashi" rel="tag">ippon kowashi</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com2tag:blogger.com,1999:blog-19111558.post-66106820212826384282011-08-26T09:09:00.000-07:002011-08-29T18:56:29.278-07:00Mrs. Diane Satoko Nagaishi Memorial Demonstration (Hawaii Karate Kenkyukai) - Guest Post by Pat Nakata SenseiThe following is a guest post by my teacher, Pat Nakata Sensei:
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<br />The August 2011 Hawaii Karate Kenkyukai session was an informal, one-year anniversary memorial Karate demonstration to honor Mrs. Diane Satoko Nagaishi. This demonstration was agreed upon with the full support of the Hawaii Karate Kenkyukai. She passed away August 20, 2010 and was the wife of Fumio Nagaishi Sensei. As his wife, she came into contact with many of the great legendary Okinawan teachers, such as Chosin Chibana, Shinei Kyan, and Taira Shinken, to name a few. She was a dynamic and leading force in the formation of the Ryukyu Kobudo Hozon Shinkokai Hawaii. Mrs. Nagaishi loved doing and watching Kata. She loved Kata.
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<br />Mrs. Nagaishi practiced the 16 Kata of Chosin Chibana's Okinawa Shorin-ryu Karate curriculum, 9 Kata from the Ryukyu Kobudo Hozon Shinkokai (Shinken Taira), and 8 other open hand Kata, the Itosu Rohai (Shodan), Itosu Wansu (Wanshu), Itosu Seisan, Niseishi, Jutte (Jitte), Jion, Itosu Gojushiho, and Tensho. These 33 Kata formed the program for this demonstration.
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<br />The program started out with Mrs. Nagaishi's favorite Kata, Tsuken Sunakake (throwing sand) No Eiku. This Kata uses the oar (kaibo / eku), and was performed by Alan Yokota, Roy Rivera, and John Oberle. Next, the OSKA group, consisting of Alan Yokota, Steve Chun, Grant Kawasaki, and Tom Terayama, performed the Chibana Shorin-ryu Kihon Kata Shodan, Nidan, and Sandan.
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<br />In most demonstrations the Pinan Kata is performed by the youth or beginners group. For this demonstration the senior instructors performed the Kata. Pinan Shodan by Charles T. Goodin Sensei, Pinan Nidan by Sean Roberts Sensei, Pinan Sandan by Herbert Ishida Sensei, Pinan Yondan again by Roberts Sensei, and Pinan Godan again with Ishida Sensei. This entire set was dynamic.
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<br />The Naihanchi Shodan Kata is the fundamental Kata for Shuri-te, and was powerfully performed Angel Lemus Sensei and Judy Lemus Sensei, though they are Tomari-te stylists.
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<br />Alan Yokota, Roy Rivera, and John Oberle performed Rohai (Shodan). This Rohai is the first of 3 Rohai created by Anko Itosu. The classical Rohai is the Tomari Rohai. Following the Rohai was a well coordinated group performance of Bassai Dai (Itosu No Patsai) by the Minakami Dojo, consisting of Randee Chang, Nicole Cardinale, Justin Kaneko, and Adam Hagadone.
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<br />Everyone was on the edge of their seats when George Sasano Sensei was called to perform the Jion Kata. Sasano Sensei has been suffering from Tinnitus, which has affected his equilibrium for over a year. His performance was dynamic.
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<br />Gavin Hiramatsu showed the International Karate League's hard-hitting Kushanku, which is their rendition of the Itosu Kusanku Dai. Next was Dexter Chun with a quick paced Kishaba Juku Shorin-ryu Naihanchi Nidan Kata.
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<br />The Maezato No Tekko was another group Kata with Alan Yokota, Roy Rivera, and John Oberle. This Kata was created by Shinken Taira (Maezato) using the pattern of the Jiin Kata. The Tekko can be made from a brass (iron) knuckle (knuckle duster), stirrups, or horse shoes, but most likely came from China as a knuckle duster. Hisae Ishii-Chang Sensei's Nijushiho was versatile, being both smooth and flowing as well as quick changing.
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<br />Angel Lemus Sensei and Judy Lemus did their powerful Matsumura Seisan. Their Matsumura Seisan techniques are very close to the original Itosu Seisan, but the Itosu Seisan of Wado-ryu's Seshan and the Shotokan Hangetsu are more exacting in pattern (embusen). George Sasano Sensei followed with another forceful Kata, the Kusanku Kata Sho (Shotokan Kanku Sho).
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<br />Another Kobudo group Kata was the Timbei by Roy Rivera, John Oberle, and Harold Hamada. The Timbei originally was a farmer’s hat with a sharpened instrument or tool, such as a potato digger. It gradually evolved into a short spear (rochin) and shield art. Robert Matsushita's Wanshu (Wado-ryu / Shotokan Empi / Chibana Wansu) was quick moving and quick shifting. This Wanshu was the Itosu Wansu, but the classical Wanshu is the Tomari Wanshu, believed by many to be the oldest Okinawan Kata. Charles C. Goodin Sensei followed with a quick hitting Kishaba Juku Shorin-Ryu Naihanchi Sandan.
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<br />Alan Yokota, Steve Chun, and Grant Kawasaki performed the Chibana Shorin-ryu signature Kata Patsai Dai (Matsumura No Patsai). Shawna Carino was quick and hard hitting in her performance of the Itosu Chinto. George Sasano performed a very exacting Jitte (Jutte). Everyone was amazed since even with his health challenges, he looked like he did 30 years ago.
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<br />John Oberle's Kojo No Sai was interesting with tempo changes throughout the Kata. Ralph Sakauye did a very versatile Taira No Nunchaku. Hisae Ishii-Chang Sensei's Gojushiho Sho (Itosu No Gojushiho) was rhythmic and dramatic, which reflected intense concentration. Alan Lee Sensei's Senbukan Karate's Shushi No Kun (using a six foot staff) was powerful and smooth and is equivalent to the Ryukyu Kobudo Hozon Shinkokai's Shushi No Kon (kun / bo) Sho. Roy Rivera delivered a very forceful Shushi No Kon Dai.
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<br />Herbert Ishida Sensei performed a very dynamic Tensho Kata, his teacher's favorite Kata. Kyle Nakasone Sensei followed with a powerful performance of Hamahiga No Tunfua. Alan Yokota finished the program with a polished and refined Kanegawa No Nichogama (two sickles).
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<br />There are many thanks to be said, as the demonstration was the result of combined effort from many individuals. Charles C. Goodin Sensei agreed once more to be the Master of Ceremonies and as always, did a great job. Angel Lemus Sensei (koadigital) designed the beautiful program brochure and Aileen Higa (FedEX) printed the brochures and handouts. Clyde and Carl Kinoshita agreed to capture the entire event on film which Angel Lemus Sensei edited and converted to DVD. Alan Yokota, with the help of John Oberle, sacrificed much of his free time coordinating this event. Alan Lee Sensei graciously hosted the event and provided manapua for the numerous individuals who helped to set up before and tear down afterwards.
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<br />Refreshments were provided by Grant Kawasaki (Hanapa'a Sushi / Gokujo Sushi / Hawaiian Grown), Steve Chun (C.Q. Yee Hop and Company, John Oberle (drinks), Gary Nakata (ice), and Tom Terayama (paper goods).
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<br />A Big, big thank you goes out to the Hawaii Karate Kenkyukai. And lastly, thank you to everyone for attending.
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<br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com3tag:blogger.com,1999:blog-19111558.post-74712752314086960082011-06-25T14:34:00.000-07:002011-06-25T14:39:47.712-07:00A Strong Testament to Willpower and Training: Hawaii Karate Kenkyukai - June 12, 2011This was quite a memorable Kenkyukai training session for me, for many reasons! The June 12, 2011 session once again had us joined by Walter Nishioka Sensei and his International Karate League (IKL). In addition, George Sasano Sensei, head of the Aikenkai Dojo, demonstrated and fully participated in the training despite not being fully recovered from an ongoing equilibrium condition (tinnitus). After this session, both Nishioka Sensei and Sasano Sensei were voted in as full members of the Hawaii Karate Kenkyukai, something which required 100% approval from all current members.<br /><br />A big treat for me personally was the full participation of my instructor, Pat Nakata Sensei (OSKA), a mere month and a half after he suffered a heart attack due to either ventricular fibrillation or tachycardia followed by 11 days in the ICU. The cause of his heart going out of rhythm remains unknown, only that it was not due to cholesterol or clogged arteries. Some present at the session remarked that it was a miraculous recovery, which is indeed true, but I got to witness his refusal to “take it easy” and persistence in training over the past several weeks. On one of the nights, he told me, “I will not let this heart attack beat me.” It was not long until the rest of us in OSKA were back to pushing ourselves to keep pace with him. I am convinced his karate training before and after his heart attack drove the “miracle” behind his amazing recovery. Sasano Sensei joked that he was forced to perform at this Kenkyukai session since Nakata Sensei’s example took away any excuse he had... it is good to see that they can both joke about it, and better still, what more powerful testament to willpower and dedicated training can you have?<br /><br />Getting back to the actual session, the two main kata performed and studied were Seienchin/Seiyunchin/Seiunchin and the Patsai/Passai/Bassai kata. Kyokushin Karate, the Minakami Dojo, and the Senbukan Dojo performed the Seiunchin kata, demonstrating similarities and variations in meaning and execution across the different styles.<br /><br />The OSKA dojo demonstrated the Patsai Dai, or Matsumura Patsai, while the Hikari Dojo demonstrated the Tomari Passai. They were followed by the Island Ki, IKL, and Aikenkai dojos performing the Bassai/Passai Sho, or Passai Gwa. The “gwa” is an Okinawan word for “small”, which is the same meaning as “sho”. This kata was created by Itosu, who only taught the short, minor kata to some of his students. It was largely popularized by Tokuda Anbun and after some modifications, the kata became known in Shito Ryu and Shotokan karate as (Itosu) Passai/Bassai Sho. Note that this is a separate kata from what is considered the “main” Itosu Patsai, which is called Patsai Sho by Shorin Ryu and Passai/Bassai Dai by most other styles and was the focus of the Kenkyukai session before this one. It was interesting to see the Patsai kata performed one after the other, each with their own distinct “feel”.<br /><br />Rounding off the kata portion of the session, the Ryukyu Kobudo group performed the Kyan Sai no Kata Dai, which is technically not a Ryukyu Kobudo kata and has it’s lineage in Kyan Shinei Sensei. It is also known as the Ufuchiku kata, as it was created by Kanagusuku Sanda “Ufuchiku” Sensei. A signature feature is the triple slashing movements to the head, shoulder, and hip/hand levels.<br /><br />Performing the Kata (in order):<br />Seienchin - Kyokushin Karate - Herbert Ishida Sensei (Bobby Lowe Sensei's representative)<br />Seiyunchin - Minakami Dojo - Sean Roberts Sensei<br />Seiunchin - Senbukan Dojo - Alan Lee Sensei with Kyle Nakasone Sensei and Ryan Okata<br />Patsai Dai - OSKA - Pat Nakata Sensei, Alan Yokota, Steve Chun, Grant Kawasaki, and John Oberle<br />Tomari Passai - Hikari Dojo - Charles Goodin Sensei<br />Bassai Sho - Island Ki dojo - Hisae Ishii-Chang Sensei<br />Passai Sho - International Karate League - Stephen Lodge (representing Walter Nishioka Sensei)<br />Passai Guwa - Ninchokan Dojo - Angel Lemus Sensei and his wife Judy Lemus Sensei<br />Bassai Sho - Aikenkai Dojo - George Sasano Sensei<br />Kyan Sai no Kata Dai - Ryukyu Kobudo - Pat Nakata Sensei, Alan Yokota (representing Fumio Nagaishi Sensei), Roy Rivera, and John Oberle<br /><br />Observing:<br />Walter Nishioka Sensei, Rodney Shimabukuro Sensei, Carl Kinoshita, and Tommy Terayama.<br /><br />After the session was over, our customary light refreshments as we talked story turned into quite the potluck as food and drink was provided by the following: Grant Kawasaki/Hanapaa Sushi, Steve Chun/C.Q. Yee Hop Co./Commercial Enterprises, Alan Lee Sensei, Hisae Ishii-Chang Sensei, Charles Goodin Sensei, Sean Roberts Sensei, Rodney Shimabukuro Sensei, Alan Yokota, and Pat Nakata Sensei.<br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/ippon+kowashi" rel="tag">ippon kowashi</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com3tag:blogger.com,1999:blog-19111558.post-49476674900420058932011-05-16T20:23:00.000-07:002011-05-24T01:05:55.707-07:00Hawaii Karate Kenkyukai: April 10, 2011 (Guest Post)Below is a guest post by my instructor Pat Nakata Sensei on the most recent Kenkyukai training session:<br /><br />The Hawaii Karate Kenkyukai keeps improving. On the Sunday, April 10, 2011 session, we were joined by James Miyaji Sensei and his Kenshukan Karate Kobudo Association and Walter Nishioka Sensei and his International Karate League (IKL). The Patsai / Passai / Bassai Kata were selected for this session. The OSKA, Kyokushin Karate, Island Ki, Minakami Dojo, Kenshukan, and IKL all performed their version of the Itosu No Patsai (Dai). All six schools were similar, but with distinct and interesting variations. Both the Hikari Dojo and Ninchokan Dojo performed the Tomari Passai and these too had unique and interesting variations. The Ryukyu Kobudo group performed the Kanegawa no Timbei and the Senbukan group performed the Goju-ryu Sanseiru.<br /><br />Performing the Kata were Herbert Ishida Sensei for Kyokushin Karate (Bobby Lowe Sensei's representative), Alan Lee Sensei with Kyle Nakasone Sensei and Ryan Okata from the Senbukan Dojo, Hisae Ishii-Chang Sensei for her Island Ki dojo, Charles Goodin Sensei with participation from Jerry Tsuda and Dexter Chun of the Hikari Dojo, Angel Lemus Sensei and his wife Judy Lemus Sensei of the Ninchokan Dojo, Sean Roberts Sensei for Minakami Dojo, Ralph Sakauye (representative for James Miyaji Sensei) and Shawna Carino from the Kenshukan Karate Kobudo Association, Stephen Lodge (representing Walter Nishioka Sensei) from the International Karate League, Alan Yokota, Steve Chun, John Oberle, and Pat Nakata with participation from Grant Kawasaki for the OSKA, and Alan Yokota (representing Fumio Nagaishi), Roy Rivera, John Oberle and Pat Nakata from Ryukyu Kobudo.<br /><br />Observing were James Miyaji Sensei, Walter Nishioka Sensei, George Sasano Sensei, George Drago and Daniel Nakamoto.<br /><br />Refreshments were provided by Grant Kawasaki / Hanapaa Sushi and Steve Chun / C.Q. Yee Hop Co. / Commercial Enterprises.<br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/ippon+kowashi" rel="tag">ippon kowashi</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com1tag:blogger.com,1999:blog-19111558.post-43989029810409487562011-04-21T09:05:00.000-07:002011-04-21T09:08:14.976-07:00Special Kenkyukai Session: Pat Nakata Sensei Teaching Sai BasicsOn March 16, 2011, my instructor Pat Nakata Sensei was invited to teach a class on sai basics at the Halawa District Park Gym during Charles Goodin Sensei's karate class. This was a continuation of our “training abroad” due to our dojo being refloored at the time. Just like the takedown session with Angel Lemus Sensei, this was not considered one of our usual Kenkyukai training sessions held once every two months, but it was open to all Hawaii Kenkyukai members.<br /><br />Nakata Sensei heads the Okinawa Shorin Ryu Karate Association (OSKA) in Hawaii, teaching the Shorin Ryu karate he learned from Chibana Chosin Sensei. He also teaches the Ryukyu Kobudo he learned from Fumio Nagaishi Sensei (Ryukyu Kobudo Hozon Shinkokai Hawaii) and the kobudo he learned from Kyan Shinei Sensei, through Nagaishi Sensei. <br /><br />The skill and sai familiarity level of all the participants was varied during this session. Along with Goodin Sensei’s students, there was George Drago, Alan Lee Sensei with two of his students, and from our OSKA group there was Alan Yokota, Roy Rivera, Harold Hamada, Grant Kawasaki, and myself. After a brief introduction, Nakata Sensei began running the class through the sai no kihon keiko, or “sai basic practice”. This was part of the curriculum he learned from Kyan Shinei Sensei, who learned the bo and sai from Kina Shosei Sensei. Kina Sensei in turn was a student of Kanagusuku Sanda “Ufuchiku” Sensei.<br /><br />The basics are composed of various single and double strikes, alternating left and right hands, with and without stepping. Nakata Sensei started off by having everyone follow along for a few sets of techniques, then allowed for a short break, after which everyone followed along for the same techniques again with a few more added in. This pattern continued until before we all knew it, the entire class was fairly familiar with the sai basics, which consists of 20 different sets. The breaks were welcome not only because they enabled everyone to let things “sink in”, but also because that much sai work is a pretty hefty workout, even for those of us that are used to doing them. From what Nakata Sensei says, Kyan Sensei was a big proponent of conditioning and basics, which is exactly what this kind of training offers.<br /><br />An interesting item to note is that in the Kyan (or Ufuchiku) methodology, when the sai is in the “chamber” position, the fist is held with the palm of the hand perpendicular rather than parallel to the ground like in karate or in Ryukyu Kobudo. In addition, the tsukagashira (head of the handle) of the rear chambered sai points straight towards the tsukagashira of the front sai.<br /><br />One of the more difficult basics to perform is the kiri uchi, or “cutting strike”. The Kyan sai basics only contained gedan versions of this technique (lower cutting strikes), but since kiri uchi is so prevalent in the actual Kyan sai kata, Nakata Sensei added mae (front) and naname (diagonal) kiri uchi to the basics. The mae no kiri uchi involves starting with the sai in the “reverse” position (blade along the length of the forearm). As the hand moves forward, the yoko (prongs) of the sai are parallel to the ground. Even as the sai is flipped from the reverse position to the forward position, the yoko remain parallel to the ground, causing a cutting arc similar to that of a sword draw. Care must be taken to avoid the bad habit of letting the sai “dangle” downwards during the flip, and timing and wrist usage is vital for power generation. <br /><br />At the end of the class, Goodin Sensei asked if we could perform a sai kata for everyone, so Nakata Sensei, Alan Yokota, Roy Rivera and I performed the Kyan Sai no Kata Sho and the Kyan Sai no Kata Dai. The Sai no Kata Sho is a fairly long and repetitive kata, which fits in nicely with the idea of basics and conditioning. The Kyan Sai no Kata Dai is also known as the Ufuchiku kata.<br /><br />From what I saw during and after the class, it was easy to tell that everyone had an enjoyable time training hard and learning something new. We are grateful to Goodin Sensei for allowing us to train at his dojo and Nakata Sensei for sharing his knowledge and experience.<br /><br />The following schools/individuals were in attendance:<br /><br />OSKA (Okinawa Shorin Ryu Association Hawaii, Pat Nakata Sensei)<br />Hawaii Senbukan (Goju Ryu, Alan Lee Sensei)<br />Hikari Dojo (Okinawa Shorin Ryu Kishaba Juku, Charles Goodin Sensei)<br />George Drago (Aikenkai Shotokan Karate Association)<br /><br />Observing:<br />Rodney Shimabukuro Sensei<br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">sai</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">kobudo</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com1tag:blogger.com,1999:blog-19111558.post-48895235745891728862011-03-15T00:50:00.000-07:002011-04-09T12:27:46.462-07:00Special Kenkyukai Session: Angel Lemus Sensei Teaching TakedownsOn March 14, 2011, Angel Lemus Sensei was invited to teach a class on takedowns at the Halawa District Park Gym during Charles Goodin Sensei's karate class. This was fortunate timing, as our dojo was being refloored and we found ourselves without our normal training location. While this was not considered one of our usual Kenkyukai training sessions held once every two months, it was a training event that all Hawaii Kenkyukai members were invited to attend.<br /><br />Angel Lemus Sensei is a member of the Board of Directors for the Okinawa Shorinjiryu Toude Zentokukai, a traditional Okinawan style with roots in the karate of Kyan Chotoku Sensei and Shimabuku Zenryo Sensei. He currently runs the Ninchokan Dojo every Monday and Thursday on Coconut Island and we have enjoyed his participation in the Hawaii Karate Kenkyukai for a couple of years now.<br /><br />After Goodin Sensei led everyone in a warmup consisting of stretching and several executions of their first two Naihanchi kata, Lemus Sensei began his seminar. The general theme was initiating takedowns after blocking an opponent's attack. As such, Lemus Sensei demonstrated several variations of takedowns (Cael Goodin graciously agreed to be the uke), explaining the techniques, and allowing time for everyone to split up into partners to practice the sequences. Because there were many techniques and my vocabulary in describing them is limited, I will instead list just some of the principles that Lemus Sensei explained:<br /><br />1. It is always easier to hit the opponent first before attempting to grapple.<br />This principle seems fairly self-explanatory; either you transition immediately to a grapple after executing a block or strike that does not put the opponent away or you intend from the beginning to use the block or strike as an effective distraction in order to initiate grappling effectively. This means you must be close to your opponent, so you can not back away or try and keep distance as the opponent attacks.<br /><br />2. Stances must be strong and utilized.<br />When engaged with the opponent in close range, the legs can be utilized to disrupt the opponent's balance (kicking or applying weight, or both), to stomp on his feet so her cannot escape, or to set up the conditions for a lock. If a stance is floating with no real foundation, it can not perform these functions. Furthermore, during the conduct of the throw itself, one must be conscious of the stance in order to utilize it to deal with the weight of the individual.<br /><br />3. Never force a technique.<br />When your attempts to execute a technique fail, don't get too absorbed in trying to make the technique work. Sometimes flowing on to another technique or hitting the opponent again just might do the trick in order to culminate with a takedown.<br /><br />4. Some useful tips.<br />When blocking, if you control the opponent's elbow, it makes it harder for him to hit you when you grapple.<br />Aiming to hit the elbow while blocking can make the block more effective.<br />During a takedown, if you control the head, it can prevent him from turning out from a technique or attacking you.<br />Don't be afraid to slam an opponent's head into the ground during a takedown if the situation warrants it.<br />There is no such thing as "fighting dirty", so use all targets of opportunity.<br />When practicing takedowns, it is important for the attacker to execute a proper attack with proper range so that the defender can reasonably expect to get hit if nothing is done.<br /><br />Lemus Sensei concluded with a brief demonstration on various flow drills meant to teach transition from one lock/takedown to another. These incorporated several of the principles that he had discussed.<br /><br />In addition to Lemus Sensei representing the Ninchokan Dojo and acting as the lead for the training session, the following schools were in attendance with their students:<br /><br />OSKA (Okinawa Shorin Ryu Karate Association, Pat Nakata Sensei)<br />Hikari Dojo (Okinawa Shorin Ryu Kishaba Juku, Charles Goodin Sensei)<br /><br />Also observing:<br />Aikenkai Shotokan Karate Association (Shotokan Karate, George Sasano Sensei)<br />Island Ki (Shotokan Karate, G. Hisae Ishii-Chang Sensei)<br />Rodney Shimabukuro Sensei<br />George Drago Sensei<br />Gary Miyashiro<br />A guest from Japan<br /><br />We are thankful for Lemus Sensei volunteering to teach this special session. Those of us students in OSKA who were present (Alan Yokota, Steve Chun, Harold Hamada, Grant Kawasaki, Phil Gevas, and myself) were grateful to have a place to train for the evening and it was interesting to see things from a different perspective. I believe my teacher put it best in his statement: "I think it was a good experience for our OSKA students. As you know, we only concentrate on walk-in, Osae, and hitting. Thank you."<br /><br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com0tag:blogger.com,1999:blog-19111558.post-20006927859716729532011-02-22T18:54:00.000-08:002011-02-22T19:21:59.888-08:00Hawaii Karate Kenkyukai: February 13, 2011 (Guest Post)The following description of the most recent Hawaii Karate Kenkyukai training was written by my instructor, Pat Nakata Sensei:<br /><br />The Hawaii Karate Kenkyukai session for February 13, 2011 covered the Pinan Yondan & Godan of the OSKA (Chibana Shorin-ryu) and the Hikari Dojo (Matsubayashi-ryu), the Pinan Sono Yon & Go of Kyokushin Karate, and the Heian Yondan & Godan by Island Ki (Shotokan) and Minakami Dojo (Shito-ryu). Performing for the OSKA group were Alan Yokota, Steve Chun, John Oberle, and Pat Nakata. The Chibana Shorin-ryu Pinan Yondan and Godan are the oldest. The next oldest form of these Kata were the Shotokan Heian Yondan and Godan, which were performed by Hisae Ishii-Chang Sensei. Sean Roberts Sensei showed the Shito-ryu Heian Yondan and Godan, the third oldest of the variations. Charles Goodin Sensei with Jerry Tsuda and Peter Kamlangek performed the Kishaba Juku version of the Matsubayashi-ryu (fourth oldest) Pinan Yondan and Godan. Herbert Ishida Sensei demonstrated the Kyokushin version, Pinan Sono Yon and Go.<br /><br />The Ryukyu Kobudo group consisting of Alan Yokota, Roy Rivera, John Oberle, and Pat Nakata performed the Maezato No Tekko and Tekko Nashi (without Tekko). This Tekko Kata was created by Shinken Taira (Maezato) Sensei and the pattern is from the Jiin Kata. There are some theories on the origins of the Tekko. The traditional explanation in Ryukyu Kobudo Hozon Shinkokai is that the weapon originated from the stirrups (abumi), although others state they were made by fusing two horseshoes together (uma no chimagu). Still others say that the spiked Tekko came from China. Whatever the case may be, it is a formidable and universal weapon. Since Goju-ryu Karate does not have Pinan Kata, Alan Lee Sensei and Kyle Nakasone Sensei performed their unique Senbukan Kata Gekisai Sandan and Yondan. These 2 Kata were created by their present head of Senbukan, Katsuya Izumikawa (son of the founder, Kanki Izumikawa). Zentokukai does not have Pinan Kata in their curriculum either, so Angel Lemus Sensei performed the Wanchin Kata that was created by Zenryo Shimabukuro Sensei and also the Tokumine Bo.<br /><br />In the question and answer session there were many questions with interesting and enlightening explanations. On the pairing-off for the Kata application practice, Herbert Ishida Sensei chose the Hiza-geri for everyone to practice from their Pinan Sono Yon. Angel Lemus Sensei chose a strong block to the biceps for a decisive technique from their Wanchin Kata. Charles Goodin Sensei had everyone practice an arm-bar drag followed with a thrust to the head, which was a follow-up move from the opening move of Pinan Yondan. Alan Lee Sensei chose a draw-in, hooking, drop block from their Gekisai Yondan for everyone to practice with variations of counter attacks. The last application was from Pinan Yondan, which was moving into the opponent, pressing, and a backhand attack.<br /><br />Refreshments were served after the session. Grant Kawasaki (Times Hanapaa Sushi, Marukai Gokujo Sushi, Hawaii Homegrown) brought a large platter of sushi and Steve Chun (C.Q.Yee Hop Company / Commercial Enterprise) brought roast pork, roast duck, and roast chicken for everyone to enjoy.<br /><br />Also in attendance were Walter Nishioka Sensei, George Sasano Sensei, Rodney Shimabukuro Sensei, Carl and Clyde Kinoshita, and George Drago. Although Nishioka Sensei and Sasano Sensei were invited to participate, they were only able to observe, because of medical concerns. They commented on the friendship and the camaraderie and were impressed with the closeness of the group.<br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/ippon+kowashi" rel="tag">ippon kowashi</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com0tag:blogger.com,1999:blog-19111558.post-24118844587127823112010-12-14T20:15:00.000-08:002010-12-14T20:17:02.604-08:00Hawaii Karate Kenkyukai: December 5, 2010 - Ippon Kowashi and the Walk-inThe Hawaii Karate Kenkyukai met for training again on 5 December, 2010. The first half of the training was standard, with every school demonstrating a kata (or two) in the first round, followed by the same kata demonstrated in another round with a chance for everyone to ask questions. This was followed by an open discussion on fighting methodology, namely the concepts of ippon kowashi, or “destroying the opponent with one hit”, and how to close distance while fighting. The last portion of the training involved everyone pairing off with a partner to practice these above concepts using focus hand pads. Because I found the discussion interesting, most of this write-up will focus on a summary of the main points.<br /><br />The first round of kata started off with OSKA performing Pinan Nidan, followed by the Roberts Sensei doing Heian Nidan and Ishida Sensei demonstrating Pinan Sono Ichi. In the writeup for the last session, I erroneously stated the Hayashi-ha Shito-Ryu Heian Nidan was equivalent to our Pinan Shodan. However, Roberts Sensei said what he performed in this session was the Heian Nidan (equivalent to our Pinan Nidan). This was interesting, as most schools that use the Heian name swap the order of the first two Pinan/Heian kata.<br /><br />The next segment was OSKA doing Pinan Sandan, Roberts Sensei performing Heian Sandan, and Ishida Sensei doing Pinan Sono San. Afterwards, Lemus Sensei performed the Tokumine Bo and Lee Sensei did Gekisai Yon. It was explained that the Tokumine Bo was the style of Tokumine, who was quite the carouser, resulting in his exile to the island of Yaeyama. Chotoku Kyan went there to learn from him, but by that time Tokumine had already passed away. Instead, Kyan learned from the landlord or caretaker of the place where Tokumine lived, as this individual had learned the kata from Tokumine. The kata had a lot of scooping movements that scraped the ground, reminiscent of the Tsuken Sunakake eku (oar) kata wherein sand would be thrown into the opponent’s face. Another characteristic was the circular scooping that targeted the opponent’s leg, similar to the Shirotaro no Kon bo kata. Just like Gekisai San, Gekisai Yon was created by Izumikawa Sensei to increase the variety of kata for younger practitioners, especially for use in tournaments.<br /><br />During the second round of performances, everyone was able to ask questions on the varying methodologies exhibited.<br /><br />Following this, a discussion on fighting methodology was started, examining the concepts of ippon kowashi and how to close the distance between you and your opponent. Ippon kowashi means “destroying the opponent with one hit” and has parallels with the terms ichi geki hissatsu, or “one hit, one kill”. More than just the act of “trying to hit someone hard”, it is at once both a mindset and a realistic training goal, which is to generate such intense power in all techniques, whether a punch, kick, or block, that the opponent simply cannot withstand it. If an opponent strikes at you, your block should floor him. If he tries to block you, your punch should drive right through. If he tries to cover up and take your punch with his arm, his arm should break. These are fairly strong statements, ones which require total commitment and supreme confidence, and ones which many tend to view as unrealistic. However, if their potential is not acknowledged in the first place, if training is never structured with them in mind, how can they ever be realized? Achieving this requires an objective study of power generation and constant training towards this end.<br /><br />When analyzing striking power and fighting methodology, there are often debates that crop up, such as “speed versus power”. Ippon kowashi requires you to be in close range to your opponent and would represent “power”. Yet in many cases, “speed” refers perhaps tangentially to how fast the hand is moving, but has more to do with how quickly you can get in and out of range to attack the opponent or disrupt his timing. In these cases, the issue actually being addressed is dealing with the distance between you and your opponent.<br /><br />In sparring or sport fighting, there is a specific distance between two opponents, which is why you see “reach” listed as a personal stat before boxing or MMA matches. More important than just “reach” is someone’s range. You must know your range and judge the opponent's range. If you are in range, you hit. In sparring, you maneuver just outside of the opponent's range and set him up for a one step attack. In other words, the opponent needs to take a step to hit you. The moment he steps forward, you shoot your punch and will be successful in catching him almost all of the time. Sparring to a large extent is waiting, and the focus is not on absolute destruction of the opponent with one technique. One of the difficulties of waiting to time the opponent is just that, waiting. One can only maintain absolute concentration for a few seconds at a time and this strategy grants the initiative to the opponent. Furthermore, to distract themselves or the opponent, many choose to jump or bounce around, or to constantly bob and weave to present a difficult target. In these situations, timing the opponent can become tricker, especially if the opponent is purposely trying to throw your timing off.<br /><br />In a real combat situation, however, there should be no setting up inside or outside of the opponent’s range, there should only be a walk-in. As the name implies, distance is closed by simply walking in, not too fast where control is lost, and not too slow where you can be easily timed. Your attack is executed as you walk in, but your method of attack is not decided before you begin. What is required instead is the firm decision to walk in, which prevents you from overthinking the situation. You accept whatever consequence may occur, whether it be complete success or total failure, and whatever the opponent gives you. Attack his arm if he punches and attack his legs if he kicks. If he covers up, remove whatever obstacle he presents and punch, strike or kick... or just destroy the obstacle with your hit. This is the tie-in with ippon kowashi. Without training for and achieving ippon kowashi, it is harder to develop the confidence to walk into and attack the opponent. And of course, it almost goes without saying that if you do successfully walk in, your chances of victory are far better when you can put your opponent away with one hit, since if he is in range, so are you. Fighting in this manner is not waiting for the opponent, it is taking control of the opponent and being active rather than reactive.<br /><br />With this methodology, things such as speed or timing the opponent for an opening become irrelevant. When you are in control and enter into the opponent with the walk-in and destroy the opponent, sparring methods and pure speed are not needed. To fight in this way, one must train this way. Therefore execution of kata should demonstrate action and control rather than reaction. Every technique and the transition between them must be oriented towards entering the opponent and destroying him with one hit. The transition from movement to movement must involve pressing forward into the opponent with the entire body and body weight, which is the concept that we call osae, or press. While the walk-in does not technically require this press, it further enhances control of the situation. However, when all of this is missing from training, especially in kata, the training becomes reactive and we condition ourselves to lose the initiative and give up control of the fight. With this kind of reactive mindset, it becomes that much harder to walk in to the opponent and achieve ippon kowashi. Again, to train for the walk-in and ippon kowashi, intense concentration must be given to each technique and the transitions between them.<br /><br />Since the study of fighting is best done through training rather than words, we then partnered up with focus pads and practiced walking in from several steps away and then hitting without “setting” or pausing first. Focus pads can be more useful than hitting makiwara or heavy bags since the feel of it lets you know if you are pushing/muscling through the hit, making contact incorrectly, or other deficiencies in form that might be masked otherwise. We practiced both a punch and a uraken, or back fist. True to our discussion, we aimed to use the backfist not as a glancing or jabbing strike, but as a powerful blow to end the confrontation. Partnering up allowed us to view both the similar and different ways that everyone employed body weight and focus during these techniques.<br /><br />Upon conclusion of our training, we all partook of some Hanapa’a Sushi graciously provided by Grant Kawasaki and talked story for a little while. Like always, I felt privileged to take part in the Kenkyukai training.<br /><br />In attendance:<br /><br />Herb Ishida Sensei (representing Bobby Lowe Sensei, Kyokushin Karate)<br /><br />Pat Nakata Sensei (OSKA [Okinawa Shorin Ryu Karate Association]), Alan Yokota (Ryukyu Kobudo Hozon Shinkokai Hawaii), Steve Chun, John Oberle, and Grant Kawasaki.<br /><br />Alan Lee Sensei (Hawaii Senbukan Dojo, Goju Ryu)<br /><br />Angel Lemus Sensei (Ninchokan Dojo, Zentokukai)<br /><br />Sean Roberts Sensei (Minakami Karate Dojo, Minakami-ha Shito-Ryu)<br /><br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/ippon+kowashi" rel="tag">ippon kowashi</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com4tag:blogger.com,1999:blog-19111558.post-6060609494042555982010-11-04T20:25:00.000-07:002010-11-04T20:27:23.220-07:00Hawaii Karate Kenkyukai: October 31, 2010<span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">The Hawaii Karate Kenkyukai held its most recent training session on 31 October, 2010. Sensei Alan Lee / Hawaii Senbukan hosted this session at the Kotohira Jinsha.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">A familiar format was observed, with every school demonstrating a kata in the first round, followed by the same kata demonstrated in another round with a chance for everyone to ask questions, and closing with each school sharing an application from their kata to be practiced with a partner.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Five of the schools did their version of Pinan Shodan, with variations in the kata name as well, reflecting the various lineages of the styles. Our OSKA group under Pat Nakata Sensei started off with the Chibana Shorin-ryu Pinan Shodan, followed by Charles Goodin Sensei performing the Kishaba Juku version of Pinan Shodan. This was then followed by Herbert Ishida Sensei performing the Kyokushin Pinan Sono Ni, succeeded by Sean Roberts Sensei doing the Hayashi-ha Shito-ryu Heian Nidan and Hisae Ishii-Chang Sensei with the Kenneth Funakoshi Shotokan Heian Nidan.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">It was explained that Ankoh Itosu Sensei created the Pinan Shodan kata for the Okinawan school system in the early 1900s as a simplified version of Kusanku, which would be easier for the schoolchildren to learn both in terms of kata length and the literal duration of the physical education classes. While there was initially meant to be only one Pinan kata, Itosu Sensei created four more in successive years to give returning students more kata to practice. Funakoshi Sensei renamed the Pinan Kata to Heian, a change which carried over into schools which had ties to Shotokan. In addition, because Pinan/Heian Shodan was viewed as more complex than the Nidan kata, Funakoshi Sensei switched the teaching order, which is why the Heian Nidan kata is equivalent to the Pinan Shodan kata. Interestingly enough, Kyokushin calls this set of kata Pinan rather than Heian, although they still retain the switched order of kata, which is why Ishida Sensei performed the Pinan Sono Ni kata.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Because the remaining two schools do not perform the Pinan/Heian kata, Alan Lee Sensei’s group did the Gekisai San kata and Angel Lemus Sensei and his wife Judy did Wanchin. Lee Sensei informed us Gekisai San was created by Izumikawa Sensei to increase the variety of kata for younger practitioners, especially for use in tournaments. It includes techniques from Gekisai Ichi and Ni in addition to other sequences. Lemus Sensei stated the Wanchin kata was created by Zenryo Shimabukuro to commemorate the opening of his dojo in 1962. The name was derived from a combination of Wansu and Chinto, which formed the basis of the kata.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">During the application portion of our training, it was interesting to note how the distance from the opponent at which a technique would be executed would differ from school to school, even if the movements were similar. This affected the meaning of not only that technique, but the subsequent one as well. For example, in our school, a shuto uke (knife hand block) that strikes the opponent’s upper punching arm requires close distance, thus stepping forward, crowding the opponent, and executing another shuto uke would be more akin to striking the opponent and/or knocking him out of the way. On the other hand, some schools use a shuto uke that strikes at an opponent’s punching arm at the wrist, thus requiring greater separation between you and your opponent. Therefore stepping forward with a shuto uke would be aimed further up the opponent’s other (or same) arm as he punches again and be a means of closing distance.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">I am grateful to continually witness the earnest sharing of karate of many schools by instructors who truly consider each other friends. The focus on training is what makes these sessions embody what is meant by “the study of karate”.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">In attendance:</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Herb Ishida Sensei (representing Bobby Lowe Sensei, Kyokushin Karate)</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Pat Nakata Sensei (OSKA [Okinawa Shorin Ryu Karate Association]), Alan Yokota (Ryukyu Kobudo Hozon Shinkokai Hawaii), Roy Rivera, Steve Chun, John Oberle, and Grant Kawasaki.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Alan Lee Sensei (Hawaii Senbukan Dojo, Goju Ryu) with Garrett Miyagawa and Corey Shimabukuro.</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">G. Hiase Ishii-Chang (Island Ki, Kenneth Funakoshi Shotokan Karate)</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Charles Goodin Sensei (Hikari Dojo, Okinawa Shorin-Ryu Kishaba Juku)</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Angel Lemus Sensei (Ninchokan Dojo, Zentokukai) with Judy Lemus</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Sean Roberts Sensei (Minakami Karate Dojo, Minakami-ha Shito-Ryu)</span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;"><br /></span><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:medium;">Observing were Rodney Shimabukuro Sensei, Carl Kinoshita, and Clyde Kinoshita</span><div><span class="Apple-style-span" style="font-size:medium;"></span><span class="Apple-style-span" style="font-family:Helvetica;"><br /></span>Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a></div>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com1tag:blogger.com,1999:blog-19111558.post-43315211748053956092010-08-30T20:47:00.000-07:002010-08-30T20:52:30.738-07:00Hawaii Karate Kenkyukai: August 22, 2010<!--StartFragment--> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:Helvetica;">The following is a writeup by Pat Nakata Sensei on our most recent Kenkyukai training session held on August 22, 2010.</span></p><p class="MsoNormal"><span style="font-family:Helvetica;mso-bidi-font-family:Helvetica;">Again, the Hawaii Karate Kenkyukai session was a very good and interesting session. We selected everyone's most advanced Kata in their Kata curriculum, with Ryukyu Kobudo Hozon Shinkokai performing Kanegawa no Nichogama, Herbert Ishida Sensei's presentation of the Kyokushin Karate Kanku, OSKA presenting the Chibana Shorin-ryu Chinto, Alan Lee Sensei and Kyle Nakasone Sensei demonstrating their Goju-ryu Karate Suparinpei, Hisae Ishii-Chang Sensei showing the Kenneth Funakoshi Shotokan Karate Unsu, Charles Goodin Sensei doing the Kishaba Juku Fukyugata Ichi, Angel Lemus Sensei showing his Zentokukai Yara Kusanku, and Sean Roberts Sensei executing the Minakami Karate Seiunchin. The discussion on the various Kata was very informative and interesting. The application practice was fun as usual.</span><span class="Apple-style-span" style="font-family:Helvetica;"> </span></p> <p class="MsoNormal"><span style="font-family:Helvetica;mso-bidi-font-family:Helvetica;">For the October session, we will be presenting our renditions of Pinan Shodan (Kyokushin Karate Pinan Sono Ni, Heian Nidan), and because Zentokukai does not have any Pinan Kata, Lemus Sensei will be asked to perform their Wanchin Kata. Unfortunately, Alan Lee Sensei and Kyle Nakasone Sensei will not be able to attend the October session. Lee Sensei will try to have a representative perform the Senbukan Gekisai Sandan.</span></p> <p class="MsoNormal"><span style="font-family:Helvetica;mso-bidi-font-family:Helvetica;">We have found that it would be far more beneficial for everyone to perform their versions of the same Kata, if possible.</span></p>Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com0tag:blogger.com,1999:blog-19111558.post-48430310208637630722010-04-21T19:48:00.000-07:002010-04-27T01:42:58.614-07:00Hawaii Karate Kenkyukai: April 11, 2010The following is a short write-up by Pat Nakata Sensei on our most recent Hawaii Karate Kenkyukai meeting held on 11 April 2010.<br /><br /><br />This session was very interesting and fun. Sean Roberts Sensei started by performing the Rohai Kata. We were expecting him to do the (Itosu) Rohai Shodan, but instead, he performed the Tomari Rohai, which is the classical Rohai. Anko Itosu Sensei created three Rohai kata (Rohai Shodan, Nidan, and Sandan) from the Tomari Rohai. Hisae Ishii-Chang Sensei was to have performed the Meikyo Kata, which is a Shotokan Kata that was created by Gichin Funakoshi or his son Giko, or possibly both. Meikyo is a combination of the Itosu Rohai Nidan and Sandan. Unfortunately, Hisae Sensei was not able to attend. Charles Goodin Sensei performed the Matsubayashi (Tomari) Rohai.<br /><br />Angel Lemus Sensei performed the Chikina no Tunfa (Tuifa, Tunkua), followed by Alan Yokota, Roy Rivera, John Oberle and myself performing the Hamahiga Tonfa (Tonfa or Tounfa in the Shuri dialect). Alan Lee Sensei, Kyle Nakasone, and Garrett Miyagawa performed their version of the Hamahiga Tunfua.<br /><br />Herbert Ishida Sensei finished Round 1 by performing Sokugi Taikyoku Sono Ichi.<br /><br />Round 2 followed the same format, but with discussions after each presentation. First again was Roberts Sensei with his Tomari Rohai. Goodin Sensei asked Gerry Tsuda to perform their Rohai and he followed by performing and explaining their moves. After discussing the Tomari Rohai, Alan Yokota and I decided to perform the Itosu Rohai Shodan, although our OSKA / RKHS no longer practice this Kata.<br /><br />Lemus Sensei followed with explanations of the unique Chikina Tunfa. Our Ryukyu Kobudo Hozon Shinkokai (RKHS) followed with a presentation and explanation of our Hamahiga Tonfa. Alan Lee Sensei, Kyle Nakasone, and Garrett Miyagawa presented and explained their Hamahiga Tunfua, which is a little different from the conventional Hamahiga Tunfua.<br /><br />Herbert Ishida Sensei again finished the round with Kosugi Taikyoku Sono Ni.<br /><br />After a 5 minute break which gave everyone an opportunity to compare notes, Herbert Ishida Sensei led everyone through the Kosugi Taikyoku Sono Ni. After 15 minutes everyone partnered up to practice kicking with their toes. After about 10 minutes, it was Lemus Sensei's turn. He had everyone practicing an unconventional Tunfa flip out strike that goes 360 degrees. It seems everyone was having fun, especially the people who are more used to the conventional methods.<br /><br />Lee Sensei and I followed with our more conventional Tunfa basics.<br /><br />The session was educational and interesting as always, but this session was fun.<br /><br />The participants were: Sean Roberts Sensei, Charles Goodin Sensei, Jerry Tsuda, Angel Lemus Sensei, Judy Lemus, Alan Yokota, Pat Nakata, Roy Rivera, John Oberle, Jay Paige, Alan Lee Sensei, Kyle Nakasone, Garrett Miyagawa, and Herbert Ishida Sensei.<br />Observing were Rodney Shimabukuro Sensei, Carl Kinoshita, and George Drago.<br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com0tag:blogger.com,1999:blog-19111558.post-14387174977965602302010-03-02T03:18:00.000-08:002010-03-02T03:28:34.617-08:00Hawaii Karate Kenkyukai: February 28, 2010The Hawaii Karate Kenkyukai held its most recent meeting on Sunday, 28 February, 2010. As always, it was an enjoyable opportunity to learn about and share traditional karate with each other. The session followed our usual pattern of three rounds of kata study. The first round was a demonstration of kata, followed by another round of demonstration, but with a question and answer session after each kata. The third round consisted of each instructor explaining an application from the kata they performed and then a few minutes for everyone to practice the technique.<br /><br />This time we studied four kata: Anan, Gojushiho, Saifa, and Kanegawa no Timbei.<br /><br />Starting us all off, Sean Roberts Sensei performed Anan. This kata most likely came into Shito Ryu from Ryuei Ryu and Roberts Sensei emphasized the more circular movements within the kata and some of the crane-style strikes and blocks.<br /><br />Following this, the Gojushiho kata was performed by Charles Goodin Sensei, Angel Lemus Sensei and his wife Judy, and Hisae Ishii-Chang Sensei. Gojushiho was explained as being more of a Naha-style kata in derivation and not technically a “core” Shuri-te kata, although many Shorin schools do perform this kata since Sokon Matsumura taught his version of it. It was this version that was performed by each of the instructors mentioned above. The Naha/Chinese roots can not only be seen from the actual movements themselves, but also the name itself, as “Gojushiho” means “fifty-four”. Nakata Sensei explained that his instructor, Chibana Chosin Sensei, stated that all “number” kata were Naha kata of Chinese origin. The Shotokan Gojushiho Sho appears to be a variant of the Itosu Gojushiho, while their Gojushiho Dai is the more prevalent Matsumura Gojushiho. One of the easiest ways to distinguish the Itosu version from the Gojushiho version is that one of the earlier sequences contains two punches, a kick, and then another punch. If the foot steps back after the kick, it is the Matsumura version. If it steps forward, it is the Itosu version.<br /><br />Next, Alan Lee Sensei and his student Kyle Nakasone Sensei performed the kata Saifa, followed by Herb Ishida Sensei, who was representing Bobby Lowe Sensei. While not a “number” kata, this kata does have Chinese origins, having been brought back by Kanryo Higaonna. The kata included a lot of grabbing, ripping, and tearing, the name itself meaning “smash and tear”.<br /><br />Lastly, Pat Nakata Sensei performed Kanegawa no Timbei, being joined by Alan Yokota, Roy Rivera, Steve Chun, and myself. He explained that this weapons kata came more from the farmer/peasant class and that the classical items used were the large Chinese straw hats (<span style="font-style: italic;">timbei</span>) or pot covers as a sort of shield coupled with a small stick called a <span style="font-style: italic;">hira</span>, which was essentially a potato digger. If there is metal and/or blades involved, the weapon is called a <span style="font-style: italic;">rochin</span>. Due to these weapons’ relatively flimsy natures compared to a sharp katana, the kata focuses more on deception, timing, and masking of the weapon while moving and striking in order to defeat the opponent.<br /><br />During the application round, everyone partnered up to practice techniques present in the kata just performed. Unfortunately, Roberts Sensei had to leave early to teach a class. Lee Sensei, Lemus Sensei, and Ishida Sensei each explained techniques based around escapes from a grab, while Nakata Sensei explained some of the concepts involved in elbow strikes. These included the use of the opposite hand to pull an opponent inwards rather than overextending and the difference between a forearm smash versus hitting with the elbow.<br /><br />After the conclusion of the session, there was some discussion about footwork and how it affects moving with body weight and power generation. Like always, it was very refreshing to see individuals from different styles meeting together in the spirit of openness and learning in order to help everyone grow as practitioners of karate.<br /><br />In attendance:<br /><br />Herb Ishida Sensei (representing Bobby Lowe Sensei, Kyokushin Karate)<br /><br />Pat Nakata Sensei (Okinawa Shorin Ryu Karate Association Hawaii, Ryukyu Kobudo Hozon Shinkokai Hawaii) with Alan Yokota, Roy Rivera, Steve Chun, and John Oberle<br /><br />Alan Lee Sensei (Hawaii Senbukan Goju Ryu) with Kyle Nakasone Sensei<br /><br />G. Hiase Ishi-Chang (Island Ki Shotokan Karate) with Dr. Leo Maher<br /><br />Charles Goodin Sensei (Hikari Dojo, Okinawa Shorin-Ryu Kishaba Juku)<br /><br />Angel Lemus Sensei (Ninchokan Dojo, Zentokukuai of Hawaii, Sukunaihayashi Shorin Ryu) with Judy Lemus<br /><br />Sean Roberts Sensei (Minakami Karate Dojo, Minakami-ha Shito-Ryu)<br /><br /><br />Technorati Tags: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/Hawaii+Karate+Kenkyukai" rel="tag">Hawaii Karate Kenkyukai</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com9tag:blogger.com,1999:blog-19111558.post-66731185346309915522009-12-28T19:55:00.000-08:002009-12-29T19:42:52.399-08:00Closing Distance and Not Overextending: Musashi's "Body of a Shuko"Miyamoto Musashi’s Book of Five Rings speaks of “having the body of a shuko”, a shuko being a short-armed monkey. He writes that “… The shuko does not extend his arms… If you think o f extending your arms, your body will retract… it is easy to approach with your body in the same time it would take for your hand to reach out.”<br /><br />In other words, close distance so that you do not execute any technique before you are within the proper range to do so. This is one of the largest compromisers of proper stance and posture because it causes leaning, throws off your center of balance, and prevents proper body weight transfer into the opponent. Simply put, your technique becomes incredibly weak and leaves you vulnerable. This applies to anything, whether it is a punch, block, kick, or grappling maneuver. While this seems like common sense, executing outside of proper range is extremely common and in the end ironically boils down to a fear of getting hit. This is easily observed in many fighters, regardless of their training background and experience. As such, many people are used to “stand-up fighting” well outside of the proper range and will prefer only to grapple within what we would consider to be proper striking distance. It requires extreme confidence to close distance with the body as a whole first before execution.<br /><br />As Musashi would say, “study this well.”<br /><br />This concept is of course tied in closely with what we call osae, the constant press forward into the opponent, which requires a post in and of itself. While Musashi does not use the term osae, he writes of the same concept in at least three separate passages. This will be discussed in another post.<br /><br />As a footnote, I am currently using the William Scott Wilson translation of Musashi’s Book of Five Rings. After comparing it to the archaic Japanese used in the original work, Wilson’s translation is perhaps the best I have come across.<br /><br /><br /><br />Technorati:<a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a> <a href="http://technorati.com/tag/bunkai" rel="tag">bunkai</a> <a href="http://technorati.com/tag/Miyamoto+Musashi" rel="tag">Miyamoto Musashi</a> <a href="http://technorati.com/tag/Musashi" rel="tag">Musashi</a> <a href="http://technorati.com/tag/The+Book+of+Five+Rings" rel="tag">The Book of Five Rings</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com0tag:blogger.com,1999:blog-19111558.post-47402341436513822012009-12-14T19:38:00.000-08:002009-12-14T19:40:53.812-08:00A Good CoachMy sensei Pat Nakata will sometimes remark that he does not teach in any of his classes, but everyone is welcome to train with him. Or, he might say something along the lines that he is not a karate teacher, but a coach. I always used to think these were odd things to say. Recently, Sensei has been emphasizing that we be proactive in correcting each other during our training, especially since we have some newer members training with us.<br /><br />In a typical class, we will normally execute each kata about two or three times. If there are more than three of us, the students will usually rotate out one at a time. This isn’t meant to be a break; the student who is not performing kata is expected to make on-the-spot corrections verbally and/or physically. However, these corrections must be done succinctly and accurately so as not to disrupt the flow of the kata. Just like in a fight, there is no time to “think” and the correction must happen naturally. This requires as much engagement and concentration as performing the kata itself. There is no time for putting things gently or diplomatically, it just has to be done.<br /><br />This rotation happens regardless of how long people have been training. At the bare minimum, it provides an opportunity to see how it is supposed to be done for those who are still learning the kata. Of course, if some of us are doing kata incorrectly, it can also show how NOT to do it.<br /><br />I sometimes find myself seeing someone requiring correction, yet have difficulty making the correction quickly or adequately. This usually means I do not understand the technique or concept well enough myself. Then there are other times when I explain something and then Sensei will have to interject and correct some (or all) of what I just got done saying. Either way, it aids in identifying my own weaknesses as well.<br /><br />With this class setup, not only must I constantly work on improving my own karate, but also the karate of others, which then theoretically should improve my own… and so on. If I “go easy” on others and just let their bad habits slide, I will not be doing anyone any favors. Correcting, watching the corrections of others, receiving corrections and correcting oneself are all necessary to become a good coach. Maybe it’s not that odd after all.<br /><br /><br /><br />Technorati: <a href="http://technorati.com/tag/karate" rel="tag">karate</a> <a href="http://technorati.com/tag/Martial+Arts" rel="tag">Martial Arts</a> <a href="http://technorati.com/tag/martial-arts" rel="tag">martial-arts</a> <a href="http://technorati.com/tag/Self+Defense" rel="tag">Self Defense</a> <a href="http://technorati.com/tag/fighting" rel="tag">fighting</a> <a href="http://technorati.com/tag/personal+combat" rel="tag">personal combat</a> <a href="http://technorati.com/tag/kata" rel="tag">kata</a> <a href="http://technorati.com/tag/traditional+karate" rel="tag">traditional karate</a> <a href="http://technorati.com/tag/Shorin+Ryu" rel="tag">Shorin Ryu</a> <a href="http://technorati.com/tag/Okinawan+karate" rel="tag">Okinawan karate</a> <a href="http://technorati.com/tag/martial+arts" rel="tag">martial arts</a>Bujutsu Bloggerhttp://www.blogger.com/profile/10474552364322455131noreply@blogger.com3